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iS Roland 



£■ OGITAL SAMPLING KEY3DARD 



s-ia 



Owner's Manual 




The Roland Sampling Keyboard S-10 is a completely 
new type keyboard which can record (sample and re- 
cord into computer memory) all sorts of sounds then 
play these sounds with the keyboard. 

The S-1 is conceptually like a tape recorder in that it 
records sound. However, the recording process is 
very different, since the S-1 is recording into compu- 
ter memory. Computers can accept information only 
in digital signal, so the S-1 converts audio signal into 
digitals. It does this by examining (sampling) the in- 
coming signal level great many times a second, and 
sequentially recording these different levels in com- 
puter memory. This digital recording process is called 
SAMPLING. 



FEATURES 



The S-10 has four Banks (A, B, C and D) to record 
the sounds, therefore any of the four samples can 
be instantaneously selected. 

The S-10 features the dynamics function. 

The Split function can split the keyboard into the 
upper and the lower sections. 

The sound you have recorded can be saved onto a 
2.8 inch quick disk (QD) for future use. 

The liquid crystal display and the alpha dial serve 
to make the operation quicker and easier. 

Provided with the MIDI connectors, the S-10 can 
be setup with a MIDI sequencer and other de- 
vices. 



Bescheinigung des Herstellers /Importeurs 

Hiermit wird bescheiniqt. daS der/die/das 

ROLAND DIGITAL SAMPLING KEYBOARD 

IGerat Tvp Buetcn/iunfll 



in Ubereinstimmung mit den Bestimmungen der 

Amtsbi. Vfg 1046/1984 

IA(nut}Ut>*ff!u«jngl 



funkentstort ist. 

On Oeutsclwn Bundeipost wurde das Inverkehrbringen dieses Gerates 
angezeigt und die Bereehtigung zur Clberpriifung der Serie auf Einhaltung 
der Bestimmungen eingeraumt. 

Roland Corporation Osaka / Japan 

tmpotlturt 





RADIO AND TELEVISION 


INTERFERENCE 








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CONTENTS 



Important Notes 3 

Panel Description 6 

DO Basic Operation 9 

1 . Loading each of 

the four different sounds 10 

2. Structure Buttons 11 

3. Loading both sides of QD 13 

4. Cancelling Structure 

setting before loading 14 

5. Monitoring the QD data 15 

ID Performance Controlling 

Functions 16 

1. Editing Performance Parameters 16 

2. Performance Controlling Functions Deter- 
mined by Performance Parameters 18 

a. Vibrato 18 

b. Pitch Bender 19 

c. Arpeggio 19 

d. Trigger Play 21 

e. Detune 23 

f. Delay 24 

g. Dual Function 25 

3. Performance Controlling Functions unre- 
lated with Performance Parameters 27 

a. Pedal Hold , 27 

b. Tuning 28 

c. Changing Split Point 28 

4. Performance Parameters for loading .... 29 

[U Sampling 30 

1. Basic Sampling 30 

2. Changing Sampling Conditions 32 

3. Sampling a Long Tone or Split 33 

4. De-activating Looping 34 



El Correcting the sampled 

data 



35 



1. Editing Wave Parameters 35 

2. Changing Looping 37 

3. Tuning a Sample 38 

4. Scanning Mode 39 

5. Start Point 39 

6. Key Follow 40 

7. Envelope 40 

8. Dynamic Sens 43 

9. Pitch Bender On/Off 43 

10. Vibrato On/Off 43 

11. Auto Bend 43 

12.Copying Wave Parameters 44 

13.Structures and the Wave Parameters ... 45 



Saving 



46 



1. Basic Saving 46 

2. Quick Saving without Verification 48 



\6\ Wave Modification 



49 



Level Adjustment 50 

Reverse 51 

Auto Loop 51 

Copy 52 

Swap 53 

Digital Filter 54 

Mix 55 

Combine 57 



MIDI 60 

1. Changing MIDI Functions 61 

2. Program Change 62 



H Error Messages 



64 



Specifications 73 

Disk Memo 74 



IMPORTANT NOTES 

• The appropriate power supply for this unit is 
shown on its name plate. Please make sure that 
the line voltage in your country meets the require- 
ment. 

• Please do not use the same socket used for any 
noise generating device (such as motor, variable 
lighting system). 

• This unit might not work properly if turned on im- 
mediately after turned off. If this happens, simply 
turn it off and turn it on again in a few seconds 
later. 

• Before setting up this unit with other devices, turn 
this unit and all the other units off. 

• This unit might be heated while operating, but 
there is no need to worry about it. 



• Use a soft cloth and clean only with a mild deter- 
gent. 

• Do not use solvents such as paint thinner. 

• Avoid using this unit in excessive heat or humidity 
or where it may be affected by direct sunlight or 
dust. 

• Operating the unit near a neon, fluorescent lamp, 
TV or CRT Display may cause noise interference. If 
so, change the angle or the position of the unit. 

• The built-in disk drive of the S-1 is a precision ma- 
chine. So, please handle it gently. 

Specially while the Disk Drive is running, do not 
give a strong shock to the unit. 




The lighting Hash with arrowhead symbol, within an equilateral 
triangle, is intended to alert the user to the presence of un- 
insulated "dangerous voltage" within the product's enclosure 
that may be of sufficient magnitude to constitute a risk of 
electric shock to persons. 

The exclamation point within an equilateral triangle is intended 
to alert the user to the presence of important operating and 
maintenance (servicing) instructions in the literature accom- 
panying the product. 



INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK OR INJURY TO PERSONS. 



IMPORTANT SAFETY INSTRUCTION 



WARNING When using electric products, basic precau- 
tions should always be followed, including 
the following; 

1 . Read all the instructions before using the product. 

2. To reduce the risk of injury, close supervision is 
necessary when a product is used near children. 

3. Do not use this product near water- for example, 
near a bathtub, washbowl, kitchen sink, in a wet 
basement, or near a swimming pool, or the like. 

4. This product should be used only with a cart or 
stand that is recommended by the manufacture. 

5. This product, either alone or in combination with an 
amplifier and headphones or speakers, may be 
capable of producing sound levels that could cause 
permanent hearing loss. 

Do not operate for a long period of time at a high 
volume level or at level that is uncomfortable. If you 
experience any hearing loss or ringing in the ears, 
you should consult an audiologist. 

6. The product should be located so that its location or 
position does not interfere with its proper ventilation. 

7. The product should be located away from heat 
sources such as radiators, heat registers or other 
products that produce heat. 

8. The product should avoid using in where it may be 
effected by dust. 

9. The product should be connected to a power supply 
only of the type described in the operating instruc- 
tions or as marked on the product. 



10. The power-supply cord of the product should be 
unplugged from the outlet when left unused for a 
long time. 

11. Do not tread on the power-supply cord. 

12. Do not pull the cord but hold the plug when 
unplugging. 

13. When setting up with any other instruments, the 
procedure should be followed in accordance with 
instruction manual. 

14. Care should be taken so that objects do not fall and 
liquids are not spilled into the enclosure through 
openings. 

15. The product should be serviced by qualified service 
personnel when: 

A: The power-supply cord or the plug has been 
damaged; or 

6: Objects have fallen, or liquid has been spilled 
into the product; or 

C: The product has been exposed to rain; or 

D: The product does not appear to operate 
normally or exhibits a marked change in perfor- 
mance: or 

E: The product has been dropped, or the enclosure 
damaged. 

16. Do not attempt to service the product beyond that 
described in the user-maintenance instructions. All 
other servicing should be referred to qualified service 
personnel. 



SAVE THESE INSTRUCTION 



How to handle the Quick Disk 

(QD) 

The sampled sound on the S-10 can be saved onto a 
2.8 inch double sided quick disk. 



Protect Nail 



Disk Side 



Magnetic Sheet - 

This is where the data is actually 
stored. 

Please do not touch the magne- 
tic sheet. 



10® 



Label Attaching Place 

Write on an adhensive label 
which you then attach here. 
Writing on the disk can damage 
it. At least, use a felt-tip pen and 
apply very little pressure. 



• Please do not touch the magnetic sheet, or the 
disk may become damaged. 



Please be sure to put the S-1 on a steady and hor- 
isontal place. 



• Do not fold or bend the disk. 

• When the disk is not to be used, preserve it verti- 
cally in the supplied protective jacket. Do not keep 
it on a slant or bending shape 

• Keep the disk from extremely hot or cold tempera- 
tures, dust or direct sunlight. 

• Do not expose the disk to strong magnetic field 
such as headphones or speakers. 



• Never remove or insert the disk, switch the S-10 
on or off while the indicator of the disk drive is lit, or 
the disk may be permanently damaged. 

• Do not keep running the QD continuously. If it is 
continuously run without rest, it may not function 
properly. 

• Please be sure that the label is securely attached 
to the QD, or the label may come off in the disk 
drive, sticking the QD. 



• Take out the protection sheet inserted in the disk 
drive, by pushing the Eject Button ©. In transit, 
reinsert the sheet into the drive. 



Protect Nail on the Disk 



How to install the Disk Case 



To protect the data saved on the disk from an ac- 
cidental loss or overrecord, snap off the Protect 
Nail on the disk. This way, the disk can be no long- 
er used for backup, but the data can be read from 
the disk just the same. The nail is provided for 
each side A and B. 



Attach the Disk Case to the rear panel. 





If you wish to use the disk again for saving other 
data, stick a selophane adhensive tape as shown 
below. 




CD Basic Operation 

The S-10 can sample all sorts of sounds and record 
them into the built-in computer memory as digital da- 
ta. This digital data can be used to play various sounds 
on the keyboard. In other words, when no digital data 
is recorded in memory (right after the S-10 is turned 
on for the first lime), there is no sound heard from it. 

To play the S-1 0, you must record sounds or load back 
the data saved on the quick disk. 

Using the QD's sound library, the S-1 can be played 
as a high quality, preset type keyboard even without 
recording any sound. 



Make sure that the S-10 is turned off, and set it up 
with the external device. 






-OUTPUT PHOMB 



o 



o 



°feo*MvJlM|o 



H M L 

"1 I f 




Set the positions of these switches 
depending on the connected de- 
vices. 



y 

MIDI 

See page 60 „ ^^^ , 

Pedal Switch 
DP-2 
(Optional) 

^1:See page 30. 

%2: Keyboard Amp M/H 

Audio Amp H 
Recording Eqnipment H 

PA,Mixer L/M/H 

Guitar Amp L/M 
etc. 



a Stereo Headphones 
f RH-10 
(Optional) 

Amplifier 




£= 



Turn the S-10 on. 



In a tew seconds, the Display will show as below. 



Roland S-10 



Ready 



First of all, load the data from the supplied disk to the 
S-10's internal memory, and play the keyboard. 

The side of the disk contains one sound, i.e. two 
sounds on one disk. The S-1 0's internal memory can 
store up to two disk data which is four different 
sounds. 

Both A and B sides of a disk may be used for one 
sound. (This happens when it takes longer time for 
sampling the sound.) 



During loading, the Display will respond with: 



Load BASS DRUM 



While the disk drive is running, the disk drive indicator 
is lit without fail. This is to warn you not to remove or 
insert a disk. That would break the disk or erase the 
data. 



1 . Loading each of the four differ- 
ent sounds 

© Insert the supplied quick disk #001 "Drum Set" 
into the disk drive with the A side (BD) facing up- 
ward. 




Insert the Disk 



(Please gently hold the sides of the Disk with your thumb 
and forefinger, then slowly insert it.) 



After a while, the Display will change as shown be- 
low. 



L 


o a d c omp let 


e 


* 




BASS 


DRUM 





This shows that the sound saved on the side A(BD) of 
the disk is loaded to the S-1 0. Also, the indicator of the 
Structure Button A is lit. Now, you can hear Bass 
Drum by playing the keyboard. 



Make sure that the disk drive indicator is dark, 
push the Eject Button © remove the QD and re- 
insert it into the disk drive with the side B(SD) fac- 
ing upward this time. 



Inserting the quick disk will automatically start the 
loading. 



Push the Load Button 



Usually for loading, the Load Button <& should be 
pushed after inserting the disk. However, if it is in- 
serted while 'READY" is still shown in the Display 
quickly after the S-1 is switched on, pushing the 
Load Button is not necessary. 



Likewise, load the C(TOM) and the D(HH) sides of the 
"Drum Set" disk. 



10 



Now, four different sounds are loaded into the S-1 0's 
internal memory. 

By pressing the Structure Buttons A, B, C or D, you 
can select any of the four sounds. We regard these A, 
B, C and D as locations where the sounds reside. 
Each Bank can retain the sound data of one second as 
longest. To make a sustained sound, you may loop 
the sampled sounds. (See page 31.) 



2. Structure Buttons 

The Structure Buttons A, B, C and D are used to select 
the corresponding sound of the Banks A, B, C and D. 
These Banks can be recorded or played simultane- 
ously or sequencially by using other Structure But- 
tons. This is effective for combining two Banks for re- 
cording a long tone, etc. 



If the pitch of the sound exceeds the highest note 
of the S-10's keyboard, it will be substituted with 
the highest octave. 



a. Structure AB, CD 

The Structure AB can be used for joining the Bank A 
sound with the B sound. Likewise, the Structure CD 
button joins the C and D. This is useful for combining 
two banks for sampling two second sound. You may 
also combine two different samples and play it. 



Structure AB 
Bank A v-Bank B 



Structure CD 

,-BankC — —v-Bank D- 



JL 



The Structure ABCD plays (or records) the Banks A, B, 

C, and D sequencially. 

If this Structure ABCD is used for playing the "Drum 

Set", the volume of the later sound will be very low. 

This is because of the Wave Parameters (explained 

later). 



11 



b. Structure A/B, C/D 



c. Structure AB/CD 



The Structure A/B button plays the Bank A sound in 
the lower section of the keyboard and the Bank B 
sound in the upper section. The C/D button works just 
like that, playing each sound separately in the lower 
and upper keyboard. The S-10 allows you to change 
the Split Point where the keyboard is divided into the 
upper and the lower sections. 

* The actual Split Point of the "Drum Set" is differ- 
ent from the following picture. 



The Structure AB/CD button plays the Bank A sound 
then the B sound in the lower section, while the D 
sound is followed by the C in the upper section. 



Structure AB/CD 
Lower Keyboard 

, Bank A \BankB~ 



Upper Keyboard 
Bank C — Y Bank D - 



Structure A/B 

Lower Keyboard 
Bank A x 



Upper Keyboard 
Bank B . 




Split Point 



ii iim in ii in irm 



Split Point 



d. Structure A/B/C/D 

The Structure A/B/C/D button splits the S-10' key- 
board to four sections, and plays each Bank sound A, 
B, C and D in the four sections separately. 



Structure C/D 

Lower Keyboard 
Bank C 



Upper Keyboard 
/-Bank D 



urn ii nni in pi 



Structure A/B/C/D 

rBank A-, ,-Bank B 



-Bank C-^ .BankD-, 

► | i ► | 



II [III! II Willi PI 



Split Point 



Split Point Split Point Split Point 

These Split Structures are specially useful to create 
piano sound whose tones subtly vary in higher and 
lower notes. 



12 



e. Note on Sampling Structure 

The QD includes the data of the sampling structure. 
When the loading is completed, the relevant indica- 
tors on the panel will light up to tell you which struc- 
ture is used. 

When the Banks of two different sounds are com- 
bined, the pitches or volumes of the two sounds may 
differ. This is related with the Wave Parameter ex- 
plained later in this manual. 



3. Loading both sides of QD 

Some data consists of more than one Bank, there- 
fore, saved on both sides of a QD or even on a few 
sets of QD's. For instance, "STRINGS" of the 
QD#002 "STRINGS & CHORUS" which is structure 
A/B, is saved on both sides A and B of the QD. That is, 
to play this, you should load both sides of the QD. 



PROCEDURE 

(D Make sure that the disk drive indicator is dark, 
push the Eject Button © and take out the QD. 



(?) Insert the #002 QD with the A side facing upward, 
and push the Load Button <§) . 



Load Strings 



When the side A is loaded, the Display will change to: 



change QD 



The Display tells you that the data on the side B is re- 
quired. 



dD Make sure that the disk drive indicator is dark, 
push the Eject Button ® and take out the QD. 



The Display will respond with: 



Insert QD 



73 



® Re-insert the QD with the B side facing upward, 
and loading will automatically start. 



Load Strings 



When the both sides of the QD are loaded, the S-10 is 
ready to play (Play Mode) in the relevant structure. 



Str i n gs 



4. Cancelling Structure Setting 
before Loading 

It is possible to load one of the set data (e.g. Bank B of 
the Structure MB) to a different Bank (e.g. Bank C). 



This, however, may cut the sound, because the orig- 
inal Structure is ignored in this way. 
Push the Structure Button A, B, C or D where you 
wish to load the data, and without releasing it, push 
the Load Button dj) . 



In the Play mode, the Display shows the sound name. 



The Banks C and D are still empty. You may, if neces- 
sary, load the Banks C and D or structure C/D. Insert 
the relevant QD and push the Load Button ® . 



If you notice that you are using a wrong disk during 
loading. Wait untill the disk drive indicator goes out, 
push any of the Structure Buttons © .This will stop 
loading and return to the Play mode. Change the disks 
and repeat the loading procedure. 



About Error 

When a set of data (both sides of a QD or even two 
QD's) is supposed to be loaded, but you try to load the 
data irrelvant to the one loaded before, the Display 
will respond with: 



Wrong QD 



Take out the disk and insert the appropriate one in a 
right direction, and the loading will start. 



14 



5. Monitoring the QD Data 

You can monitor the contents of the QD; such as 
Sound Name or Structure setting. 



® Insert the relevant QD. 

<D Push the F1 Button © , then the Load Button i 



Check 


QD 


J 


^M ^+ ^* ^^» ^^ 4^ ^^ *4^ ^^ 

*J% ^^ i^W <^p» ^^* ^% ^^> ^p» ^f* 

■ 1 - i 


i i 



Sound Name Destination Bank 

The Display shows the Sound Name and the Bank 
where the sound to be loaded. Also, the Structure 
setting can be seen on the Structure Indicator ® . 



While the above indication is shown in the Display, 
the data is not yet loaded. 

To load the data you are now monitoring in the Dis- 
play, push the Load Button ® . 

To monitor other disk, make sure that the disk drive in- 
dicator is dark and change the disks. Inserting the disk 
will automatically monitor the data. 



If you do not want to load the data you have moni- 
tored, push any of the Structure Button ® , and the 
S-10 will return to the Play mode. 



15 



[H Performance Controlling 
Functions 

The S-10 features various functions for controlling 
performance, such as pitch bender, vibrato, pedal 
hold and auto arpeggio. 



1. Editing Performance Parame- 
ters 

To change the preprogrammed value of each par- 
ameter, take the following procedure. 



The performance controlling functions can be easily 
engaged by using the buttons on the panel. 



(D Push the Performance Button © 



Most of the performance controlling functions consist 
of Performance Parameters, and the effect of the 
function can be altered by changing the value of each 
parameter 



By using the Forward Button Q and the Back- 
ward Button ©, call the performance parameter 
you wish to edit with the aid of the Display win- 
dow. 



VIB RATE = 64 



By rotating the Alpha Dial, change the value of the 
parameter. 



The number shown at the right of the Display will 
change as below. 



VIB RATE = 65 ^ 



Rotate 

counter 

clockwise 



Alpha Dial 



Value changes 

Rotate 
* clockwise 
A ▲ 



Original Value 

If you wish to edit other parameters, repeat the steps 

(f) and <D. 



(4) Push the Enter Button © 



16 



The performance parameters will be always called in 
the sequence as shown below. 



Performance 

Controlling 

Function 



Vibrato 



Bender 



Arpeggio 



Velocity Mix 
Velocity Switch 

Detune 



Delay 



Trigger Play 



Display 

VIB RATE 
M-VIB DPTH 
D-VIB DPTH 
D-VIB DLAY 
{ BEND MODE 
ARP SYNC 
ARP RATE 
ARP MODE 
ARP RANGE 
ARP REPEAT 
ARP DECAY 
{ V-MXTHRSH 
{ V-SWTHRSH 
f DTUN MODE 
DTUN RANGE 
ABEND DEST 
I. BEND DEST 
r DELAY TIME 
DELAY LEVL 
I KEY OFFSET 
TRG G-TIME 
Ext Gate Play 



Performance 
Parameter 



Vibrato Rate 

Manual Vibrato Depth 

Delay Vibrato Depth 

Delay Vibrato Delay Time 

Bend Mode 

Arpeggio Sync Mode 

Arpeggio Rate 

Arpeggio Mode 

Arpeggio Range 

Arpeggio Repeat 

Arpeggio Decay 

Velocity Mix Threshold 

Velocity Switch Threshold 

Detune Mode 

Detune Range 

Auto Bend Destination 

Pitch Bend Destination 

Delay Time 

Delay Level 

Key Offset 

Gate Time 

Trigger Play 



You can edit the parameters while playing the key- 
board, but the change cannot be heard until you re- 
lease the key and play it again. 



17 



2. Performance Controlling Func- 
tions determined by Perform- 
ance Parameters 



a. Vibrato 

Pushing the Bender Lever ® backward will create 
vibrato effect. This is called "Manual Vibrato". 
"Delay Vibrato" is the vibrato that does not come on 
immediately after the key is played, but comes on af- 
ter a certain time has elapsed. 



• Delay Vibrato Depth 



D-VIB DPTH= 



This sets the depth of the delay vibrato from to 1 27. 



To control these vibrato effects, the following per- 
formance parameters are involved. 



MODULATION 






BENDER 



Pushing the lever forward will engage the Vibrato effect. 



• Vibrato Rate 



• Delay Time of the Delay Vibrato 



D-VIB DLAY= 64 



This sets the time needed for the delayed vibrato to 
come on after a key is played from to 1 27. 

If the vibrato in the Wave Parameter (explained on 
page 43) is set to OFF, the sound would not take on 
vibrato at all. 



VIB RATE = 64 



This sets the rate of the vibrato from to 1 27. 



Manual Vibrato Depth 



M-VIB DPTH= 32 



This sets the depth of the manual vibrato from to 
127. 



78 



b. Pitch Bender 



c. Arpeggio 



Raise the Bend Range Knob ® , and bending the Ben- 
der Lever <$ will create pitch bend effect. The depth 
of the pitch bend effect can be set with the Range 
Knob ® in semi-tone steps from to 1 2 (one octave). 
While the Bend Range Knob is being moved, the Dis- 
paly shows the value of the bend range depth. 



Pushing the Arpeggio Button will light on the indi- 
cator and turn the Arpeggio function on. Playing a 
chord will create arpeggio. The following six perform- 
ance parameters are involved with arpeggio. 



• Arpeggio Rate 



BEND RNG=12 [ 9] 



The S-1 cannot play the pitch higher than the sample 
by 1 octave and 6th (21 semi-tones). The exceeded 
pitch will be substituted with the pitch of the lower oc- 
tave. 

The number shown at the right of the Display repre- 
sents how many notes higher than the pitch of the 
sampled sound can be output from the S-10. As you 
raise the Bend Range Knob © , the number becomes 
smaller. 



If the pitch bender in the Wave Parameter (explained 
on page 43) is set to OFF, the sound would not take on 
the pitch bend effect. 



How the Pitch Bend changes can be selected with 
the Performance Parameter "Pitch Bend Mode". 



• Pitch Bend Mode 



BEND MODE =CONT 



Pushing the Parameter Button O during arpeggio 
performance will cause the Display to show Arpeggio 
Rate. 



ARP RATE = 64 



Set the rate of the arpeggio. 



• Arpeggio Mode 



ARP MODE 



= UP 



Set the shape of the arpeggio. 



Mode 


Display 


Description 


Upward 


UP 


irnji-Ti 


Downward 


DOWN 


T^JTn 


Up and Down 


U/D 




Random 


RND 


Plays the pressed 
keys at random. 



The Bender Lever can function in various ways as 
shown in the table below. 



Mode 


Display 


Description 


Normal 
(Continue) 


CONT 


Usual smooth 
pitch bend. 


Chromatic 


CHRM 


Chromatic pitch 
bend. 



79 



• Arpeggio Range 



Arpeggio Sync Mode 



ARP RANGE = 1 o c t 



ARP SYNC =INT 



This sets how many octaves should be used for the 
arpeggio performance from 1 to 3 octaves. 

• Arpeggio Repeat 



ARP REPEAT= 1 



This sets how many times the same chord should be 
arpeggiated from 1 to 16 times. 



• Decay 



ARP DECAY =10 



At 1 , the arpeggio decays fastest and at 1 0, it is sus- 
tained in a set volume. 

When the Dynamics Sens of the Wave Parameters 
(see page 43) is set other than 1 27, the decay effect 
cannot be completed. 



This selects whether the arpeggio should play on its 
own or sync to the external device. 



Mode 


Display 


Description 


Internal 
Clock 


INT 


Internal clock 
controls arpeg- 
gio performance. 


External 
Trigger 


EXT 


Every external 
trigger plays one 
step of Arpeggio. 



External Trigger Mode 

In this mode, the external trigger signal (audio or 
pulse) fed into the Input Jack© will play each note of 
the chord. Every trigger signal plays one of the keys 
you are pushing on the keyboard in the sequence of 
as the Arpeggio Mode is set. 



(Position of the Input Level Switch) 

,— L Jr Microphone, Electric Guitar, etc 



.--f-M- 



Input Jack 



Pad (PD-20, etc) 



-H- 



piiii mmi mqg 



TR-707 (Rim-shot Trigger Output) 



In 



Input Level Switch 



o 



Recording Level Knob 



Set the Input Sensitivity Selector Switch ® and the 
Recording Level Knob to the positions which allow 
the most stable action. 



20 



d. Trigger Play 



Gate Time 



By feeding external signal (audio or pulse) to the Input 
Jack © , the note selected with the performance par- 
ameter will be played. 



* See the picture on page 20. 

Set the Input Sensitivity Selector Switch © and the 
Recording Level Knob to the positions which allow 
the most stable action. 



The Trigger Play function is available even during 
usual performance. However, when the Arpeggio 
Button is turned on, it will function differently as 
shown below. 



Arpeggio Sync 
Mode 


What is done by External 
Trigger 


INT 


The Arpeggio is performed 
in the set keys. 


EXT 


The Arpeggio played on the 
Keyboard will sync to the ex- 
ternal trigger 



TRG G-TIME= 







When the external signal is very short (e.g. signal 
from a drum pad), the actual sounding time of the 
sound can be set with the Gate Time. Higher number 
is longer gate time. 



When the external signal is very short (=the set gate 
time is short) 



► 



External signal 



Time 



Gate Time Value 



Sounded Time of 
the S-10 



Trigger Play 



Ext Gate Play 



Up to four notes to be trigger-played can be assigned. 
There are two ways for key registeration. 



Method 1 (Key registeration with the Alpha Dial) 

(T) Push the button ► © . 



The Display will respond with: 

the Display, shows that no key is registered. When a 
key is registered, the key number will be shown in the 
Display. 



21 



(D Rotate the Alpha Dial O until the desired key 
number is shown in the Display. 



(D While still pressing the pedal, push the keys (up to 
four keys) which you wish to register. 



C3 



C2 C3 C4 C5 



To register the next key, push the ► button © 
to flash the next position, and select a key number by 
rotating the Alpha Dial. Likewise, the third and the 
forth keys can be registered. 



Release the pedal switch. 



Ext Gate Play 



(D When registeration is completed, push the Enter 
Button <E> . 



Method 2 (Registeration from the keyboard) 

Connect the optional pedal switch DP-2 to the Hold 
Jack © . 



Pedal Switch 

DP-2 

(Optional) 



Hold Jack 



■o 



I 



(D Rotate the Alpha Dial until "Trigger Play" is shown 
in the Display. 



Ext Ga t e Play 



(D Press the pedal switch. 



22 



e. Detune 



By playing one key, you can actually generate two 
sounds in slightly different pitches. 



<D Push the Structure Button <D which contains the 
Bank you wish to use. 



«t# *i* «t* *!*» ^* &> *i? *&? *&t 

Jf. Jjs ^ ^ ^ ^ ^> •T» "T* 



Sound Name is shown 



(I) Push the F1 button 



pi SfcMjCjfc^Sfc*^^* 



• Detune Mode 



DTUN MODE =FIX 



The pitch difference between the two sounds can be 
controlled by how you play the keyboard. 



Mode 


Display 


Description 


Fixed 


FIX 


The pitch difference 
of two sounds is 
not affected by how 
you play the key- 
board 


Touch Sensi- 
tivity 


VELO 


The harder playing 
manner will in- 
crease the pitch dif- 
ference of two 
sounds 



Push the same Structure Button © you pushed in 
the step ® 



Detune 



• Auto Bend Destination 



ABEND DEST=BOTH 



When using the Detune function, the S-10 is four 
voice polyphonic. 



When the auto bend effect is applied to a sound with 
Wave Parameters (explained on page 43), one of the 
detuned sounds can take on the auto bend effect. 



To turn the Detune function off, simply push any of 
the Structure Buttons © . 



• Detune Range 

In the Detune mode, the Detune Range value appears 
first by pushing the Performance Button®. 



Mode 


Display 


Description 


Both 


BOTH 


Both voices take on 
Auto Bend. 


Half 


HALF 


Either of voices 
takes on Auto Bend 



DTUN RANGE= 20 



The pitch difference between the two sounds can be 
determined by the value of the Detune Range. Higher 
value increases the pitch difference. 



23 



f. Delay 



• Pitch Bend Destinaition 



BEND DEST =BOTH 



One of the detuned sounds can take on the pitch bend 
effect. 



Mode 


Display 


Description 


Both 


BOTH 


Both voices take on 
Pitch Bend 


Half 


HALF 


Either of voices 
takes on Pitch Bend 



When the Pitch Bend of the Wave Parameter (ex- 
plained on page 43) is OFF, sound would not take on 
the pitch bend effect. 



When a key is played, the direct sound then delayed 
sound will be heard. 



(D Push the Structure Button © that contains the 
sound to take on the Delay effect. 



*^^ ^9m «^ <^^ *£& *&> *fc ^f 
J^ *f% ^v i^t J^ <^p i^^ <^V 



(2) Push the F2 button 



Fo «i* %i« ^ ^u «^ ^^ ^ ^ ^ 
ft *f* ^* rf' ^ "^ *!» •P" *T» *T» 



Push the same Structure Button that you pushed 
in the step ©. 



Delay 



When the Delay function is in use, the S-10 is four 
voice polyphonic. 



To turn the Delay function off, simply push any of the 
Structure Buttons © . 



• Delay Time 

Delay time is the time spent between the direct and 
the delay sounds. In the Delay mode, the Delay time 
value will be first shown in the Display by pushing the 
Performance Button®. 



DELAY TIME=127 



24 



g. Dual Function 



• Delay Sound Level 



DELAY LEVL=127 



By playing only one key, the sounds in the two differ- 
ent Structures can be generated. Also, you can mute 
or generate a sound by playing the keyboard softer or 
harder. 

1) Dual Tone 



The level of the delay sound can be set from to 1 27. 



• Key Offset 



KEY OFFSET= 



You can set the pitch of the delay sound higher or low- 
er than the direct sound, in semi-tone steps from -1 2 
(one octave lower) to +12 (one octave higher). 



In the Dual Tone mode, the sounds of two different 
Structures can be simultaneously generated by play- 
ing only one key. 

Push two Structure Buttons ® at the same time. 



Dual Tone 



However, note that you cannot select the Structures 
which contain the same Banks, e.g., the Structures A 
and A/B, or A and AB/CD. 



When the Split mode is selected with the Structure 
Button, the pitch of the delay sound may exceed that 
of the split point. In such a case, the key of the split 
point will substitute it. 



When the Dual Tone function is in use, the S-1 is four 
voice polyphonic. 

To turn the Dual Tone function off, simply push any of 
the Structure Button ffi . 



Key Offset Value 



•o 



■ 



Played Key 



^ Delay Sound 
Split Point 



2) Velocity Mix 

When two Structures are selected with Dual Tone 
function, one of the Structures (—Velocity Structure) 
can be muted under a set threshold level (minimum 
volume), while the other. Structure (—Normal Struc- 
ture) will always be heard no matter how softly you 
play the keyboard. That is, one of the sounds can be 
generated only if you play the keyboard stronger than 
the set threshold level, but it is muted if the volume is 
lower than the threshold level. 



(D Push the Structure Button ( 
Structure. 



i to select the Normal 



*&£ *Sf ^* ^^ ^^ ^^ ^^ ^fr *1* 

*I* *T* *•* *T* *w* *T* ^* ^^ *^ 



25 



Push the F1 button 



Velocity Mix Threshold 



pi ********* 



Push the Structure Button of the Velocity Struc- 
ture. 



Ve 1 o-M i x 



The indicator of the Normal Structure is lit, and that of 
the Velocity Structure flashes. 



This can set the threshold level (minimum volume) at 
which the Velocity Structure can sound. 



V-MX THRSH= 64 



The value shown here represents the minimum 
strength of your key touch required for the Velocity 
Structure to sound. That is, when the value is higher, 
stronger playing manner is required, therefore, only 
by a very strong playing manner, you can hear both 
Structures. 



However, note that you cannot select the Structures 
which contain the same Banks, e.g., the Structures A 
and MB, or A and AB/CD. 



When the Velocity Mix function is in use, the S-10 is 
four voice polyphonic. 



3) Velocity Switch 

This functions can select one of the two sounds to be 
generated depending on how you play the keyboard 
(Velocity). That is, you can hear one sound (-Weak 
Structure) when playing the keyboard softer than a 
set velocity, and the other sound (-Strong Structure) 
when playing harder than that. 



To turn the Velocity Mix function off, simply push any 
of the Structure Buttons © . 



© Push the Structure Button © to select the Weak 
Structure. 



Higher 



Level 




Key Touch 



Threshold Level 



3JC ?|C 5J> ?|C i?|> ?|C 3JC 3jC 3^ 



(D Push the F2 button 



F2 ********* 



Push the Structure Button to select the Strong 
Structure. 

Ve 1 o - Sw itch 



26 



The indicator of the Weak Structure is lit, and that of 
the Strong Structure flashes. 



However, when the above function is in use, you can- 
not select the Structures which contain the same 
Banks, such as A and A/B, or A and AB/CD, etc. 



* In this mode, the S-10 is eight voice polyphonic. 



3. Performance Controlling Func- 
tions which are unrelated with 
Performance Parameters 



a. Pedal Hold 

The pedal hold function can be turned on or off by op- 
erating the optional pedal switch DP-2 connected to 
the Hold Jack © on the rear panel. Pedal Hold is the 
function that retains the sound even after the key is 
released. 



To turn the Velocity Switch function off, simply push 
any of the Structure Button ® . 




Key Touch — — 



Threshold Level 



Pedal 

Switch DP-2 
(Optional) 



Hold Jack 



■Os~ 



The sound which is not looped (explained on page 31 ) 
cannot take on the Hold effect. 



• Velocity Switching Threshold) 

This determines the threshold level (velocity) un- 
der which the Weak Structure is selected, and 
over which the Strong Structure is selected. 



V-SW THRSH= 64 



By setting a high value (velocity), you can hear the 
Strong Structure only when playing the keyboard 

hard. 



27 



b. Tuning 



c. Changing Split Point 



The S-10 can be tuned to other musical instrument 
within the range of semi-tone upper and lower. 



When the Split Structure is currently in use, the split 
point can be changed. Also, in the Dual mode, the split 
point can be changed. 



© Push the Tune Button © 



MST TUNE = 



<D Rotate the Alpha Dial until the S-1 is tuned to the 
other musical instrument. 



See whether the indicator of the Structure is lit or 
flashing. 

When lit: 

Push the F1 button ® , and the Parameter Button. 



MST TUNE =+ 7 ^ 



The value shown in the Display represents how many 
cents are raised or lowerd. (100 cents make a semi- 
tone) 



When flashing: 



Push the F2 button ® , then the Parameter Button. 



SPLT: B3 



Push the Enter Button 



^1* ^U ^U *fr ^tf *|# «Li *&+ ^u 

W^ «^^ *^ l^fc TH 1 *^ w^t ^^ *^* 



To return to ±0 cent, simply push the Enter Button 
while holding the Tune Button down. 



The key number of the highest note in each Bank is 
shown in the Display. 



The highest note of the lower 
keyboard is displayed: B3 



= 



When the Split Point is between B3 
key and C4 key. 



28 



4. Performance Parameters 



(?) Change thellashing key number using the Alpha 
Dial©. 

When the Structure A/B/C/D is in use, three split 
points will be shown. In this case, move the flashing 
positions using the and buttons ► © and < ® , then 
change the split points by rotating the Alpha Dial. 



SPLT: B2 



B3 



B4 



When you have finished to change the split points, 
push the Enter Button © . 



When the Structure which is not splited is selected, 
but you have tried to change the split point, the Dis- 
play will respond with as follows showing that it is not 
possible. 



SPLT: No Split 



Each side of a QD contains one Bank data with the in- 
formation of performance parameters and split point. 
When the data is loaded from the QD to the S-1 0, the 
performance parameters of the data finally loaded 
will be kept in the S-10's memory. This means that 
you should be careful when loading data into the S-1 
from different QD's. If you wish to use only the voice 
and the split point information, you can leave out the 
performance parameter information as follows. 



• Loading the data into the S-1 without Per- 
formance Parameters 

Push the F2 Button © , then the Load Button © , and 
the data will be loaded leaving the performance par- 
ameter information. 



When extracting a Bank or Banks of a Structure (page 
1 4), the performance parameters are not loaded. 



29 



m SAMPLING 



Without using the performance disk, you can 
sample the voice from a microphone or audio 
equipment, and play it from the keyboard. 



1. Basic Sampling 



(D Select the Bank (A, B, C, or D) to be sam- 
pled. 



Plug a microphone or an instrument into the Input 
Jack © . 



Push the Recording Button 



Move the Input Level Switch ® depending on 
the output level of the mic or instrument connect- 
ed. 



Position of Input Level Switch 



Input Jack / 



- f Microphone 






[Tape Deck 



•Input Level Switch 



■©7-^- 



Example Settings of the Input Level Selector 
Switch 



L (-50dB) 


Microphone 


M (-20dB) 


Electric Guitar 


H (OdB) 


Cassette Deck, CD player (Line 
Level) 



When a mic is connected, turn the Master Vo- 
lume down, or it will cause howling. 



REC : A 



The selected Bank will be shown in the Display. 
Here, you can monitor the sampling sound with 
the amplifier, speakers or headphones. If sampl- 
ing from a mic, please do not use speakers. 

(D Push the Stand-by Button © . 



The Display now serves as a level meter. Ensur- 
ing that the sound is securely being fed into the 
sampler, adjust the Recording Level Knob at the 
far left of the keyboard. Just like the volume ad- 
justment in tape recording, set the level as high 
as possible without " : " mark exceeding the right 
margin in the Display. 



© Set the level of the Auto Trigger by rotating 
the Alpha Dial O until the " : " mark in the 
Display reaches the desired position. 



Auto Trigger is the function that starts the 
sampling automatically when the signal ex- 
ceeding the set level is fed into the sampler. 



30 



When the signal that exceeds the trigger level 
(represented with " : " mark) is fed into the sam- 
pler, the far right of the Display shows " * 
mark. Make sure that " * " does not appear in 
the Display because of noise. 

Here, the S-10 is still in the stand-by mode. 



You can now hear the sampled sound by play- 
ing keyboard. The sampled sound longer than 
0.8 sec will be automatically looped (Autoloop- 
ing). Looping function repeats playing a part of 
the sampled sound. This way, sustain sound 
can be performed. For instance, you can pro- 
duce "Paaaaaa " sound by a sample "Pa". 



Push the Start Button <E» . 



* REC KEY 



C4 * 



Looping a sample can produce an annoying trick- 
ing or popping noise, but this can be removed la- 
ter by correcting Wave Parameter (explained on 
page 37). 



Now, the Display shows the pitch of the sound 
to be sampled. When sampling a sound from a 
musical instrument, try to feed the correct pitch. 
(Even if a different pitch is used, it can be cor- 
rected later, though) 



When the sound that exceeds the set Auto Trig- 
ger level is fed in, the sampling is done only for 
a second and goes back to the Play mode. 



a a 






Loop length 



A Sample 



The performance parameters set before the 
sampling are retained in the S-10, therefore, it 
may not be necessarily played with the sampled 
sound. Reset all the performance parameters to 
the default settings by pushing the Enter Button 
© while holding the Performance Button ©down. 



If the S-10's built-in computer cannot find the 
start point of the loop, the looping is not per- 
formed and the unit goes back to the Play 
mode. 



If the Autoloop function of the Wave Modify parame- 
ters is set to Mode 3 or Mode 4, looping will be more 
difficult. 



3/ 



2. Changing Sampling Condi- 
tions 



• Changing Trigger Modes 



You can change the following sampling condi- 
tions: Key Numbers, Trigger Modes and Sampling 
Clock. Push the Recording Button © then the 
Mode Button © , and select the condition you 
wish to change by using the Forward Button© 
and Back Button © . Then make a necessary al- 
teration, and push the Stand-by Button © , and 
you can move to the sampling operation. 



Changing Key Numbers in Sampling 



REC KEY 



C4 



REC TRIG= 



AUTO 



Usually, set this to Auto Trigger mode. However, 
when sampling a long tone that is difficult to 
start sampling, select Manual mode. The moment 
you push the Start Button 18 and the pedal 
switch (or push the Start Button twice), the 
sampling begins. 



When the Manual mode is selected, the 
mark in the Display goes out. 



When you are sampling a specific pitch, you 
may set an appropriate key number. It is import- 
ant to remember that the pitch exceeding the 
highest note of the keyboard cannot sound. 



The selected mode will remain even after the 
S-10 is turned off. 



• Sampling Clock 



SMP CLK = 30 kHz 



Usually, one second sample can be recorded in 
a Bank at the 30kHz frequency. However, it can 
be extended to two seconds, by selecting the 
15Hz frequency. This, however, decreases high- 
er frequencies, making the sound muffled. 



32 



3. Sampling a Long Tone or 
Split 

To sample a long tone, you need the Structure 
AB (two seconds), CD (two seconds), or ABCD 
(four seconds). Also, when the tone delicately 
differs depending on the pitch, or two different 
sounds are required in the upper and lower sec- 
tions of the splited keyboard, you need the 
Structure A/B, C/D, AB/CD or A/B/C/D. 



b. Sampling of Split Stuctures 

When Split Structures such as A/B, C/D, AB/CD 
or A/B/C/D is selected, the group of the rele- 
vant Banks are shown in the Display. Select the 
desired group of the Banks by rotating the Alp- 
ha Dial O ■ 



a. Sampling a Long Tone 

The necessary procedure is almost the same as 
the basic sampling. 

After selecting a Structure, the Display shows the 
relevant Banks. Using the Sampling Clock func- 
tion (on page 31) together with this effect of 
combining more than one Bank, the time can be 
even more extended twice as long. 



In a single Bank sampling, the auto-looping is 
performed on the sample exceeding 0.8sec. But 
in a stracture of combined Banks, auto-looping 
works when the last Bank exceeds 0.8sec For in- 
stance, in the structure AB, the sample longer 
than 1 .8 sec will be looped. 



The necessary procedure is basically the same 
as the usual sampling. In this mode, however, 
next Bank to be sampled is displayed after you 
have sampled one Bank. When all Banks are 
sampled, the S-10 will automatically return to 
the Play mode. 



If you wish to go back to the Play mode for ver- 
ifying what you have sampled so far, push any 
of the Structure Buttons <B When you resume 
sampling other Bank which has not been sam- 
pled yet, be sure to assign the correct Bank. 



33 



4. De-activating Looping 

To sample a long tone, you use more than one 
Bank combined, and Looping is not necessary. 
However, the S-10's Auto Looping function will 
be automatically activated whenever a sound 
longer than 0.8sec is fed in. The Looping function 
can be removed later or even now before any 
sampling is performed. To cancel the Looping 
function now, simply push any of the Structure 
Buttons while the Display is showing the follow- 
ing indication. 



Seek loop point 



34 



H Correcting the Sampled Data 

The sampled sound is stored in the S-10's 
memory, and later when the keyboard is played, 
read from the memory and reconstucted. Wave 
Parameters are involved with the Reading and 
Reconstructing. 



Even the useless samples will come to serve to 
your purpose if modified by the wave parameters 
to be played in a different way. For instance, the 
pitch of a sample can be modified during reading. 
Also, by using the wave parameters and changing 
the way of playing samples in more active ways, 
you can perform various things, e.g. changing 
looping, adding envelope curve, etc. In other 
words, wave parameters are not involved with 
transforming the sample itself, but only with 
changing how it is read from memory. 



Each sampled sound has a set of wave parame- 
ters. 

When more than one Bank is used for sampling 
a sound, the group of the Banks (one Structure) 
has a set of wave parameters. 



1. Editing Wave Parameters 

Any of the wave parameters can be edited in 
the following method. 

CD Push the Parameter Button © . 



EDT: A 



The Display shows the Bank(s) which is to be ed- 
ited by the wave parameters. 

When a Split Structure is in use, select the Bank 
to be edited by using the ► button © and the 
< button ® . 



Select the wave parameter to be changed 
with the Forward Button © or Backward But- 
ton © 



REC KEY 



= C4 



By rotating the Alpha Dial O, change the va- 
lue of the parameter. 



The data loaded from a QD can also be modifi- 
ed with the wave parameters. 

Single Bank Structure 



(--Bank A \ 

Sample A 




,-BankB >. 

Sample B 




rBankC— ■>, 
Sample C 




^BankD \ 

Sample D 










Wave 
Parameter A 


Wave 
Parameter B 


Wave 
Parameter C 


Wave 
Parameter D 



Repeat the steps (D and © as many times as 
necessary. 



© Push the Enter Button 



Structure AB 
-Bank A -y- Bank B- 

Sample AB 



Wave Parameter A 



This concept applies to the Split 
Structure as well. 



35 



Display 

RECKEY 

BANK TUNE 

LOOP TUNE 

SCAN MODE 

LOOP TYPE 

ST 

END 

LP 

AEN 

ALP 

KEY FOLLOW 

PITCH BEND 

VIBRATO 

ENVV-SENS 

ENV RATE 1 

ENV LEVEL 1 

ENV RATE 2 

ENV LEVEL 2 

ENV RATE 3 

ENV LEVEL 3 

ENV RATE 4 

DYN SENSE 

ABEND RATE 

ABEND DPTH 



Wave Parameter 

Recording Key Number 

Bank Tune 

Loop Tune 

Scanning Mode 

Loop Type 

Start Point 

End Point (Manual) 

Loop Length (Manual) 

End Point (Auto) 

Loop Length (Auto) 

Key Follow 

Pitch Bend On/Off 

Vibrato On/Off 

Envelope Velocity Sensitivity 

Envelope Rate 1 

Envelope Level 1 

Envelope Rate 2 

Envelope Level 2 

Envelope Rate 3 

Envelope Level 3 

Envelope Rate 4 

Dynamics Sensitivity 

Auto Bend Rate 

Auto Bend Depth 



Wave parameters can be edited while playing 

the keyboard. 

However, the change of the sound may not be 

recognized if the value of the parameter is 

changed while a key is being played. 

When the key is released and played again, the 

edited sound will be monitored. 



When editing a parameter of a Split Structure, 
you can move to the parameter of other Bank 
by using the ► or < buttons. 



Editting B 



The Display will show the new Bank for a sec- 
ond, and now the wave parameters of that 
Bank can be edited. 



36 



2. Changing Looping 



If you find the looping of the sample is strange 
or the pitch of a loop is incorrect, edit the sam- 
ple with the wave parameters. 



In the Manual mode, the default of the loop 
length and end point is the same as that of the 
Auto mode. 



The picture will help you understand Looping 



End Point 
Loop length 



Sampling Data 



Sampling 
Start 



r 



a Loop 



> 



One second 



The loop length and the end point of the Manu- 
al and the Auto are preprogrammed separatedly, 
therefore, you can here recall the loop length 
and the end point of the Auto. 



• Loop Length 



LP = 



4.01% 



• Loop Type 



LOOP TYPE= MAN 



Select any of the loop types; One shot, Manual 
or Auto. 



Mode 


Display 


Description 


One Shot 


1 SHOT 


No looping 


Manual 


MAN 


Looping is per- 
formed with the 
loop length and 
the End Point set 
at the corre- 
sponding Wave 
Parameters 


Auto 


AUTO 


The ALP and AEN 
which are auto- 
matically detect- 
ed decide the 
looping. 



A loop is a section which replays while the key 
is being held down. 



The length of the loop can be set with the Start 
Point and End Point. When the loop length is 
too short, the loop may get out of pitch. The 
pitch gap less than semi-tone can be later cor- 
rected by Loop Tune parameter. 



• End Point 



END= 32767 100% 



This is the end point of a loop. 



"Manual" allows you to edit the Loop Length 
and End Point. These two wave parameters are 
independent of each other, so, adjust them al- 
ternately while actually listening to the sound. 



37 



3. Tuning a Sample 



• Loop Tune 



LOOP TUNE = 



This can correct the pitch of a loop. 



When you have sampled the pitch diffferent 
from the key number shown in the Display, the 
pitch of the sampled sound can be tuned here. 

Two wave parameters are involved, one is 
Sampling Key Number that does tuning in semi- 
tone steps, and the Bank Tune that does more 
delicate tuning. 



ALP 



ALP = 



%* 



Sampling Key Number 



REC KEY 



= C4 



In "Manual" mode, the loop length used in the 
"Auto" mode is shown just for guidance, but 
this cannot be altered. 



AEN 



AEN 



%* 



When you are sampling a specific pitch, change 
to the relevant key number. If not, release the 
key, play it again and while listening to the 
sound, tune to other instrument using the Alpha 
Dial O . 

The pitch higher than the sampled pitch by 
more than 21 and half tones will be substituted 
with the lower octave. 



In the "Manual" mode, the end point used in the 
"Auto" mode is shown just for guidance, but 
this cannot be altered. 



Bank Tune 



BANK TUNE = 







You can change the pitch in one cent step. The 
Display shows how many cents are raised or 
lowered from the pitch of the sample. 



38 



4. Scanning Mode 



5. Start Point 



SCAN MODE =FWD 



ST = 



. 00% 



FWD, BWD and ALT determine how to read the 
samples: 



FWD (Forward) 



You can change the start point of the sample. 
The sample will be played from the set start 
point. This is useful for correcting the start point 
of the sample recorded in Manual. 
Also, this can start the sample from the middle. 



This plays the samples in the sequence as they 
have been recorded. Usually, select this mode. 



• BWD (Backward) 

This plays the samples in the reverse sequence, 
just like the reverse playback of a tape recorder. 



Start Point 

J 



Sampling Data 



Sampling 
Start 



• ALT (Alternate) 

This forwards and reverses a loop alternately. 
Changing the loop length, various effects can be 
obtained. 



• Address Display 

Address is the value that represents the time of 
Start Point, Loop Length and End Point. The 
length of a whole Bank is 32.767 address. A set 
of two Banks is 65.535 address. A set of four 
Banks is 131.071. The percentage that the add- 
ress accounts for of the whole Bank is shown in 
the Display. 

The value can be changed by rotating the Alpha 
Dial. Rotating the dial fast changes the value 
drastically. 



39 



6. Key Follow 



KEY FOLLOW= ON 



7. Envelope 



The S-10 offers you a wide range of control 
over the envelopes of the sampled sound. 



Usually Key Follow is ON, and playing each key 
on the keyboard will create the corresponding 
pitch. 



Key Follow OFF is a rather special effect that 
generates only the same pitch as the sampled 
sound whatever key may be played. The pitch 
to be generated, moreover, can be altered by 
Record Key Number and Bank Tune of the 
Wave Parameters. 



. Point 1 



Level 



Point 4 




Key ON 



Key OFF 



* R 1 and R 2 change depending on how you play the 
keyboard. 



Wave Parameter "Rate" is a slope from a level 
(volume) to the next level. Higher Rate is a 
steeper slope. When the level difference be- 
tween the first level and the next is small, the 
time needed for a slope is shorter. 



Envelope Parameters 



L1 and L2 

When L1 is set to exactly the same length as 
L1, R2 has no meaning. Points 1 and 2 become 
one, and R1 is followed by R3 right away. 



L2 and L3 

When L3 is set to exactly the same length as 
L2, R3 has no meaning. Points 2 and 3 become 
one. 



40 



Envelope and Looping 



• Envelope Rate 1 (R1) 



When looped before the curve reaches Point 1, 
Point 1 slides to Point 3 in the slope of R3. 



ENV RATE1 =127 



Point 1 




Point 3 Level 3 

z^> The dotted line represents the ENV of the played loop. 



The Envelope Rate 1 (the slope from Key-On to 
Point 1) can be set from to 127. With the 
Wave Paramater "Envelope Velocity Sensitivity" 
set to high, the rate can be controlled by touch 
sensitivity on the keyboard. 



When looped while decaying in the slope of R2, 
the slope changes to R3 and slides to the Point 
3. 



Point 1 



Point 2 




Level 3 



i . The dotted line represents the ENV 

j— v of the played loop. 



• Envelope Level 1 (LI) 



ENV LEVEL1=127 



The level of the Point 1 can be set from to 
127. 



• Envelope Rate 2 (R2) 



ENV RATE2 =127 



The Envelope Rate 2 (the slope from Point 1 to 
Point 2) can be set from to 127. With the 
Wave Paramater "Envelope Velocity Sensitivity" 
set to high, the rate can be controlled by touch 
sensitivity on the keyboard. 



• Envelope Level 2 (L2) 



ENV LEVEL2=127 



The level of the Point 2 can be set from to 
127. 



41 



• Envelope Rate 3 (R3) 



• Envelope Velocity Sensitivity 



ENV RATE3 =127 



ENV V-SENS= 



The Envelope Rate 3 (the slope from Point 2 to 
Point 3) can be set from to 1 27. (The actual slope 
of R3 is a curve.) 



Envelope Level 3 (L3) 



ENV LEVEL3=127 



The level of the Point 2 can be set from to 
127. 



With the Envelope Velocity Sens set to higher va- 
lue, the R1 and R2 are controlled by the dyn- 
amics on the keyboard. That is, playing the key- 
board harder will quicken the attack time, and 
vice versa. Even without setting the Envelope 
curve (ADSR), the attack time can be controlled 
with the touch sencitivity of the keyboard, by 
raising the value of the Envelope Velocity Sensi- 
tivity. 



No matter how hard you play the keyboard, you 
cannot obtaine the higher pitch than that of the 
sampled sound. 



• Envelope Rate 4 (R4) 



ENV RATE4 =127 



This is the slope that slides down from Key-Off 
to volume zero. to 127 is valid for R4. Higher 
value is quicker decay. (The actual slope of R4 
is a curve.) 



42 



8. Dynamic Sense 



11. Auto Bend 



DYN SENSE =127 



Dynamic Sense is the maximum effect of the 
touch sensitivity. The volume will change more 
drastically with the higher value. 



9. Pitch Bender On/Off 



Auto Bend involves the depth and the rate of 
the pitch at the sound head. 



Original Pitch- 



Auto Bend Depth 




Key ON 
Auto Bend Depth 



PITCH BEND= ON 



ABEND DPTH= 



This selects whether the selected Bank will take 
the Pitch Bender effect. The Dual function (per- 
formance parameter) allows to mix the Bank 
with the pitch bender effect and the Bank with- 
out it, creating a special effect. 



10. Vibrato On/Off 



VIBRATO 



= ON 



This determines how much the pitch should be 
lowered from the sampled sound. 



• Auto Bend Rate 



ABEND RATE=127 



This determines the slope sliding to the original 
pitch. 



This selects whether the selected Bank will take 
the vibrato effect (the Manual or Delay Vibrato) 
or not. The Dual function (performance parame- 
ter) allows to mix the Bank with the vibrato and 
the Bank without it, creating a special effect. 



43 



12. Copying Wave Parameters 



The following Wave Parameters can be copied in- 
dividually or in bulk from a Bank to other Banks 
of a Split Structure. All what you need is to modi- 
fy the copied parameters to desired forms. This 
would be much easier and quicker than making 
Wave Parameter from scratch. 



a. Bulk Copy 

After you have finished editing all the Wave 
Parameters in one Bank of the Split Structure, 
go to the following procedure. 



Wave Parameters which can be copied are: 



While holding the Save Button ® down, push either 
► © or < ® . 



Loop Type 

Scanning mode 

Key Follow 

Envelope 

Envelope Velocity Sensitivity 

Dynamic Range 

Pitch Bender 

Vibrato 

Auto Bend Depth 

Auto Bend Rate 



b. Individual Copy 



© Select the Wave Parameter you wish to 
copy. 

(D While holding the Recording Button ffi down, 
push either ► © or < © 



44 



13. Structure and Wave Parame- 
ters 



When more than one Bank is combined for re- 
cording a sample, these Banks are considered 
to be one group, and one group has a set of 
wave parameters. 

When the Structure AB is separated into A and 
B, each A and B requires and is given the set 
of parameters owned by the Structure AB. (The 
Loop Type is One Shot and the Start Point is 
0.) 



On the other hand, when the two Structures A and B 
are converted to on Strucure AB, it will have the set of 
parameters which used to belong to the Bank A. (The 
Loop Type is One Shot and the Start Point is 0.) The 
parameters which are owned by the Bank B will be 
lost, therefore, to correct the pitch of the sampled 
sound, use the Bank A's Recording Key Number and 
Bank Tune. The Banks A and B will be played sequen- 
cially, but they will not be automatically set to the 
same pitch, unless you take an appropriate procedure 
for tuning two Banks. 



,-Bank A Y" BankB " 

Sample AB 

I 
Wave Parameter A 



• Bank A - 



Sample A 



Wave Parameter A 



r 



BankB- 



Sample B 



Wave Parameter B 



•Bank A - 



Wave Parameter A 



- Bank B - 



Wave Parameter A 



f Bank A ^- Bank B - 

Sample A Sample B 

I 
Wave Parameter A 



45 



ID Saving 



A whole Bank of the sampled sound can be 
saved on a quick disk(QD) with the Wave Par- 
ameters, Performance Parameters, Split Point, 
Structure Mode, Bank Name and File Name. 
The saved data can be loaded back to the S-1 
at any time. 



1. Basic Saving 

© Call the Bank to be saved and select the 
Structure Mode for playing it back. 



Push the Save Button' 



Name 



Write a File Name of the data as follows. 



As you rotate the Alpha Dial, an alphabet, num- 
ber or sign will appear at the flashing cursor in 
the Display. When the first letter is written, 
move the cursor to the next position using the 
► Button ©, then write the second letter with 
the Alpha Dial. 



Alpha Dial (O J 



U ABCDEFGHI JK 



3 



VLMNOPQRSTUVWX 


YZ-n 


^— a b 


c d e f g h i j k 


I m — >. 


^— n o 


pqrstuvwx 


"1 


^~0 I 


2 3 4 5 6 7 8 


'I 



c 



&#!?•, : ; ' " * + -/< -> 



D 



The cursor can be moved backward using the < But- 
ton ® . 



To make a space, simply push the Forward 
Button © . 



When you are editing the data loaded from a 
QD, the data is already named. Rename it if 
you like. 



46 



® If you have completed to write the File 
Name, push the Save Button. 



Insert QD 



Insert the QD where the data is to be 
saved. 



When a brand new QD is used, the data will 
be automatically saved onto it. 



Save ********* 



When any previous data is written on the QD, 
the Display will respond with: 



Kill ********* ? 



If you wish to retain the data saved on the QD, 
make sure the disk drive indicator is dark, push 
the Eject Button and take the QD out, then in- 
sert the other QD. 



To protect the saved data from an accidental 
loss, take the QD out, and snap off the Protect 
Nail. 




When more than one Bank is used in a Struc- 
ture, the Display will respond with as shown 
below. This tells you that you need to save the 
other Bank to the other side of the QD. 



Change QD 



As the Display indicates you, remove the QD 
and reinsert it with the other side facing up- 
ward, (or insert other QD) 



Now, push the Save Button i 



Likewise, save all the Banks of the Structure. 



To cancel saving, push any Structure Button 



(I) When the saving is completed, the Display 
will change to as below. 



Save complete 



47 



When saving is impossible, the following error 
messages will be shown. 



2. Quick Saving without Verifica- 
tion 



Error 



Write protected 



This tells you that the Protect Nail on the QD is 
snapped off. 

To use such a QD again for saving, attach a 
selophane tape as shown below. 



This saving skips the verifying procedure whether the 
QD contains any previous data or not, therefore 
quicker. A brand new QD can be saved in this meth- 
od. 



Take exactly the same procedure as "1 . Basic Sav- 
ing", but push the F1 button before pushing the Save 
Button in step @. 




:>^-<2> 



Error 



Verify Error 



This tells you that the QD is damaged. Replace 
it with a proper one. 



48 



[3 Wave Modification 

Not only editing the Wave Parameters and 
Performance Parameters, the S-10 also al- 
lows to edit the sampled sound itself. We 
call this Wave Modification. 



The Wave Modification actually processes 
the sample itself, therefore, the modified 
data cannot be restored. Please be sure to 
save the data onto a QD before perform- 
ing Wave Modification. 



First, select the factor to be wave-modified as 
follows. 



Select the Structure by using the appro- 
priate Structure Button © . 

Depending on the factor selected later in 
step (|), the Structures to be selected 
here is limited. 



<f> Push the Modify Button ©. 



The Display shows "Wave Modify" for a 
moment. This indicates that it is now in 
the Wave Modify mode. While in the 
Wave Modify mode, no sound can be 
generated by playing the keyboard. 



(D Using the Forward Button © and the 
Backward © Button , call the factor to 
be edited. 

Now, go to the next procedure for actu- 
al Wave Modification. 



►■ Wave Modification of individual Bank(s). 

You can wave-modify an individual Bank or Banks 
of combined Structure as well as the whole Struc- 
ture. 

e.g. You can adjust the level of the Bank C of the 
Structure A/B/C/D, or apply "Digital Filter" to the 
Banks C D of the Structure AB/CD. 



49 



1. Level Adjusting 



The volume of the sampled sound in each Bank 
can be adjusted. 



When a Split Structure is selected, the volume of 
each Bank will become equal to the level set in 
the Level Adjusting. 



Take the step ©, selecting any Structure you 
like. 

Take the steps <D and (f), selecting "Level Ad- 
just". 



Lv 1 Ad j Max= 100% 



® Set the desired level using the Alpha Dial. 



e.g.) Level Adjustment of the Structure AB 
Sample of the Bank A Sample of the Bank B 




Jr Level Adjusting 
A / B 
Sample of the Bank A Sample of the Bank B 




100% 



(D Push the Enter Button I 



Levi 



The S-10 returns to the Playing mode. 



When the level is set to 100%, each Bank will 
be automatically set to the maximum volume 
which is the level just before the sound is dis- 
torted. However, some samples are distorted 
every time they are played. If so, set a lower le- 
vel. 



To adjust the level of a Bank or Banks of a Split 
Structure, take the following procedure. 



1 ) Simply call the relevant Bank(s) by pushing the 
appropriate Structure Button, then the Enter 
Button. 

2) Adjust the level of a Bank or a group of Banks 
by taking step (D to ®. 



3) Return the Bank or the group of Banks to 
the Structure it belongs to by pressing the 
same Structure Button as you pressed in the 
step ©, then push the Enter Button © . 



50 



2. Reverse 



3. Auto Loop 



Reverse function on the S-10 plays the sample 
backwards; similar to the tape recorder's re- 
verse playback. If a Structure consists of more 
than a Bank, the group of Banks will be played 
as one, while each Bank will be individually 
played in the Split Structure. 



Take the step (J), selecting any Structure you 
like. 

Take the steps (?) and ®, selecting "Reverse". 



Even when the looping is cancelled by otherWave 
Midification, the Auto Loop function can detect 
the optimum loop length and End point. 



In a Structure of combined Banks, the group of 
Banks is looped as one, while each Bank of the 
Split Structure is looped individually. 



Take the step ©, selecting any Structure you 
like. 



Reverse 



© Push the Enter Button © 



Take the steps © and (J), selectign "Auto Loop" 



Loop Mode 1 



Rv r s 



@ By rotating the Alpha Dial, experiment and 
select one of the four Looping Modes. 



When the sample is played up, the Display re- 
turns to the Playing mode indication. 



A loop cannot be reversed; the looping is can- 
celled and One Shot is set automatically. 



(D Push the Enter Button 



Lo op ► 



When Auto Looping is finished, the Display 
changes to the Playing Mode indication. 

By repeating the steps © and (D, select the 
Looping Mode you like. 

After the Auto Looping is executed, the Wave 
Parameters ALP and AEN will retain the detected 
loop lengh and the ending point and the Loop 
Type remains AUTO. 

Manual's LP and END are not affected by the 
Auto Loop procedure. 

The looping mode set in the above step © will 
remain till later Auto looping that follows sampl- 
ing. 



57 



4. Copy 



The sampled sound and the Wave Parameters 
stored in a Bank (or Structure) can be copied in- 
to a different Bank (or Structure). 
The destination Bank(s) is limitted depending on 
the type of the source Bank(s) that you wish to 
copy as shown below. 

• Compatible Banks 



Source Bank(s) 


Destination 


A 


— B v C, D 


B 


-+ A , C, D 


C 


-* A , B s D 


D 


-* A , Bv C 


AB 


— CD 


CD 


-> AB 


A/B 


— • C/D 


C/D 


— A/B 



Error 

When you have assinged the destination Bank 
(Structure) where the source Bank (Structure) 
cannot be copied, the follwoing error indication is 
shown in the Display. 



Copy s t r 



error 



Repeat the copying procedure with a proper 
Bank (Structure) selected. 



Take the step (J>, assigning the source Bank 
(Structure), and go to the steps ® and <D, select- 
ing "Copy". 



Copy =>B 



The source Bank (Structure) is shown in the Di- 
play. When the source Bank is A, B, C or D, you 
can select the destination Bank with the Alpha 
Dial© 

© Push the Enter Button flj) 



Copy ► 



When the copying is done, the above indication 
disappears. 



52 



5. Swap 



The contents (sampled sound and Wave Parameters) 
of two different Banks (Structures) can be swapped. 
The destination Bank (Structure) is limitted depend- 
ing on the source Bank (Structure) that you wish to 
copy as shown on page 52. 



Take the step CD, selecting one of the two 
Banks (Strucutres) to be swapped. 

Take the steps ® and (D, selecting "Swap". 



Error 

The following error indication shows that you have 
chosen the Strunctures which cannot be swapped. 



Swap str error 



Please repeat the swapping procedure with the prop- 
er Structures selected. 



Swap <=> B 



Now, the data is swapped between the Bank 
(Structure) shown in the Display and the one 
whose indicator is lit. When you wish to 
change the Strucutre shown in the Display, use 
the Alpha Dial. 



To swap a single Bank of a Structure (such as A of 
A/B) with other single Bank of other Struncture (such 
as C of C/D), it is necessary to extract the Bank from 
the Structure berforehand. 

Select a Bank to be swapped from a Structure and 
push the Enter Button © , then select a Bank to be 
swapped from another Structure and push the Enter 
Button. 



(D Push the Enter Button i 



Swa p ► 



When the swapping is completed, the Display 
will return to the Playing mode indication. 



Now, take the usual swapping procedure. 



When swapping is completed, push the same Struc- 
ture Button as you pushed in the step CD, then push 
the Enter Button © . 



53 



6. Digital Filter 

The Digital Filter can be used to reduce the sampling 
noise or to change the timbre or the sampled voice. 



There are four different filters optional. 



LP1 i 
Level 



Resonance - 
Resonance -127 



0.1k Cutoff Frequency - 



Frequency 
10k (Hz) 



Lowpass Filter with relatively mild cutoff frequency. 



HP1 

Level 



Resonance - 
Resonance - 127 




0.1k Cutoff Frequency 10k (Hz) 



Highpass Filter with relatively mild cutoff frequency. 



HP 2 " 
Level 



Resonance - 
Resonance - 127 




Frequency 
0.1k Cutoff Frequency iok (Hz) 



• Resonance - 
Resonance - 127 



0.1k Cutoff Frequency 



Frequency 
10k (Hz) 



Lowpass Filter with sharp cutoff frequency 



Highpass Filter with sharp cutoff frequency 



Resonance: This emphasizes the harmonic contents at 
the set cutoff frequency, creating electric 
and metalic sound. 



54 



7. Mixing 



The digital filtering is processing with computer, 
therefore, cannot be performed while the key- 
board is being played. 



The voices of two different Banks (Structures) 
can be mixed. However, the pitch difference 
between two voices cannot be corrected later, 
so tune them before mixing. 



The filtered sample cannot be restored again. 
Please be sure to make a backup QD before fil- 
tering the sample. 

To use two filters at a time, take the following 
procedure twice. 



Take the step ©, selecting any Structure you 
like. 

Take the steps ® and (D, selecting one of the 
four filters. 



LP1 


F= 10k 


R=000 




HP 1 


F = 0. Ik 


R=000 




LP2 


F= 1 Ok 


R=000 




HP2 


F = 0. Ik 


R=000 



(D Set the Cutoff Frequency and the Reso- 
nanse. 

Using the Alpha Dial O, set the value at the flasing 
cursor, and move the position of the cursor with the 
► and < Buttons. 



Push the Enter Button 



The Structures to be mixed should be the same 
type. (For instance, the Structures A and CD cannot 
be mixed.) 



The mixed data can be written into the source 
Structure or the same type Structure. The 
voices to be mixed should be 30 kHz sampling. 
15 kHz sampling cannot be properly mixed. 

Take the step ©, selecting either of the Struc- 
tures to be mixed. 

Take the steps <D and d>, selecting "Mix". 



Mix B 



= > C 



The Structure shown in the left of the Display 
and the one whose Structure Button is lit are 
mixed and rewritten into the Structure shown 
at the right of the Display. 



The destination Struncture (shown at the right of the 
Display) can be selected by moving the flashing cur- 
sor with the ► button © and using the Alpha 
Dial O ■ 



When the Structure A, B, C or D is selected 
(the indicator on), the Structure (shown at the 
left of the Display) which is to be mixed with 
the selected structure can be altered. 



LPF2 



When the memory is rewritten with the filtered 
data, the Display returns to the Playing mode 
indication. 



© Push the Enter Button 



Mix - 



55 



When the mixed data is written, the Display re- 
turns to the Playing mode indication. 



Now, the Wave Parameters are reset as shown 
below. You may need to edit the Wave Par- 
ameters here. 



Reset Values of Wave Parameters after Mixing 



REC KEY 


Recording Key Number 


Indefinite 


BANK TUNE 


Bank Tune 





LOOP TUNE 


Loop Tune 





SCAN MODE 


Scanning Mode 


FWD 


LOOP TYPE 


Loop Type 


1 SHOT 


ST 


Start Point 


0.0% 


END 


End Point (Manual) 


100% 


LP 


Loop Length (Manual) 


4 .... % 


AEN 


End Point (Auto) 


100% 


ALP 


Loop Length (Auto) 


4 .... % 


KEY FOLLOW 


Key Follow 


ON 


PITCH BEND 


Pitch Bend On/Off 


ON 


VIBRATO 


Vibrato On/Off 


ON 


ENV V-SENS 


Envelope Velocity Sensitivity 





ENV RATE 1 


Envelope Rate 1 


127 


ENV LEVEL 1 


Envelope Level 1 


127 


ENV RATE 2 


Envelope Rate 2 


127 


ENV LEVEL 2 


Envelope Level 2 


127 


ENV RATE 3 


Envelope Rate 3 


127 


ENV LEVEL 3 


Envelope Level 3 


127 


ENV RATE 4 


Envelope Rate 4 


127 


DYN SENSE 


Dynamics Sensitivity 


127 


ABEND RATE 


Auto Bend Rate 


127 


ABEND DPTH 


Auto Bend Depth 






The mixing balance of the the two voices can- 
not be set here; it is determined by the volume 
of the voices before mixed. So, please take the 
Level Adjusting porcedure before mixing. 



56 



8. Combine 



Error 

The following error indication shows that the 
selected Structure is not appropriate. 



Combining Function is joining two voices 
(Banks) with the unnecessary portions dis- 
carded. 



Mix str error 



Select other Structure and repeat the Mixing 
procedure. 



When two voices stored in the two independ- 
ent Banks (such as the Structure A, B, C, D, 
A/B, C/D, or A/B/C/D) are combined in the two 
Bank Structure (such as AB, CD, or AB/CD), the 
End Point of the first sample is directly joined 
to the Start Point of the second sample. 



-Bank A 




Bank B 




JL Combine 
BankB— - 




Right after the End Point, the Start | End Point 
v Point is joined 



The two voices should be in the same sampling 
pitch. 



57 



The Structures which can be combined are: 
A - B 

C -* D 
AB - CD 



Using the Combining function, you can cut the 
unnecessary portions: before the Start Point of 
the first Bank and after the End Point of the 
second Bank. 



* The voice in each Bank should be the same 
sampling clock. 



a. Combining two independent 
Banks 



Bank A- 



,' Start Point 



Bank A- 



Bank B 




11 



y i 

End Point 



■ / Combine 
Bank B — 




Bank B is empty. 



© Assign the Structure A or C. To combine the 
Structures AB and CD, assign AB. 



<D Push the Modify Button! 



Using the Forward Button © and the Back- 
ward Button©, select "Combine". 



C omb i n e * 



© Using the Alpha Dial©, select the Structure to be 
combined with the one whose Structure Button 
is lit. 



The Display shows the Structure you have selected. 



The portions to be used after combined is be- 
tween the Strat Point and the End Point set 
with the corresponding Wave Parameters. 



C omb i n e B 



That is, the combined data may be short enough to be 
rewritten in one Bank(A). 



Push the Enter Button i 



Cmbn ► 



The combined data is stored in the Structure 
whose indicator is lit. 



58 



b. Cuttiing unnecessary portions 
(of Structure AB, CD or ABCD) 



© Select the Structure AB, CD or ABCD. 



Error 



Push the Modify Button Q . 

Using the Forward Button © and the Back- 
ward Button®, select "Combine". 



Comb ine * 



® Push the Enter Button © .(Do not touch the 
Alpha Dial.) 



Cmb n ► 



When the Combining is completed, the Display re- 
turns to the Playing mode indication. 



The following error indication shows that the 
Structure you have selected is not appropriate. 



Combine str err 



Select other Strucutre and repeat the Combin- 
ing procedure. 



Error 

The following error indication shows that the 
combined data will after all be exactly the 
same as the original voice. Please check the 
Start Point and the End Point of the Wave Par- 
ameters. 



No need to Combn 



59 



m midi 



The S-10 features the following three MIDI Con- 
nectors. 



MIDI IN Connector © 
MIDI OUT Connector © 
MIDI THRU Connector © 



MIDI IN Connector © 



MIDI THRU Connector © 



Connect the MIDI IN connector of the S-10 to 
the MIDI OUT of the external device (e.g. MIDI 
keyboard, MIDI sequencer). The S-10's sound 
will be played by the external device. 



The exact copy of the signal fed into the MIDI 
IN is sent out through this connector. Using MI- 
DI THRU connectors, one MIDI device can con- 
trol more than several MIDI devices. 



• MIDI OUT Connector © 

Connect the MIDI OUT connector of the S-10 to 
the MIDI IN of the device such as MIDI sound 
module or MIDI sequencer. The external sound 
module can be played with the S-10's keyboard, 
or the S-10's performance data can be recorded 
on the sequencer. 



MIDir 
OUT 



MIDI device 



NOTE 



MIDI] 
IN_i_ 



MIDI 
IN 



S-10 



MIDI device 



The MIDI OUT does not transmit the signal fed 
into the MIDI IN. 



The MIDI THRU connectors technically allow to 
connect as many MIDI devices, but in practice, 
we recommend to use the optional MIDI THRU 
Box MM-4 or MIDI Output Selector MPU-105 
for the connection of more than three units. 



60 



1. Changing MIDI Functions 



The setting of each MIDI Function can be 
changed as follows. 



(J) Push the MIDI Button©. 



Select the MIDI Function you wish to change 
using the Forward Button © and the Back- 
ward Button©. 



• MIDI Channel 



MIDI CHANNEL= 1 



Select any of the MIDI Channels 1 to 16. 



Bender 



By rotating the Alpha Dial ©, change the sett- 
ing of the MIDI Function as desired. 



Repeat the steps (?) and (D as many times. 



MIDI BENDER= ON 



ON: Receive and Transmit 
OFF: Ignore 



Push the Enter Key 



Hold 



MIDI HOLD = ON 



ON: Receive and Transmit 
OFF: Ignore 



Modulation 



MIDI MOD = ON 



ON: Receive and Transmit 
OFF: Ignore 



• Program Change 



PGM CHANGE =OFF 



ON: Receive and Transmit 
OFF: Ignore 



61 



• Active Sensing 



ACT SENSING=OFF 



ON: Receive 
OFF: Ignore 



Registered Parameters 

(Bend Range Knob and Master Tune mes- 
sages) 



REG-PARAM =OFF 



ON: Receive and Transmit 
OFF: Ignore 

• Exclusive 



EXCLUSIVE =OFF 



ON: Receive and Transmit 
OFF: Ignore 



You can reset all the MIDI Functions to the de- 
fault settings. 

Simply push the Enter Button © while holding 
the MIDI Button & down. 



2. Program Change 

The S-10 can receive or transmit the following 
messages using the Program Change; the 
Structure Selection, ON/OFF of the Detune, De- 
lay and Dual Functions. 

The table shown on the next page represents the 
Program Change number assigned to each mes- 
sage. 

The above assignment can be seen on the S-10 
as follows. 



© Push the F2 Button ® , then the MIDI Button 



Rotate the Alpha Dial O , and the Program 
Change number and the corresponding mes- 
sage is shown in the Display. 



62 



Program 
Change No. 



Performance 
Control Function 



Stnucture 



# 1 A 




# 2 B 




#3 C 




# 4 D 




#5 AB 




#6 CD 




# 7 ABCD 


# 8 A/B 




# 9 C/D 




# 10 AB/CD 


# II A/B/C/D 


# 12 DT A 


DT: Detune Function 


# 13 DT B 




# 14 DT C 




# 15 DT D 




# 16 DT AB 




# 17 DT CD 




# 18 DT ABCD 


# 19 DT A/B 




# 20 DT C/C 




# 21 DT AB/CD 


It 22 DT A/B/C/D 


# 23 DL A 


DL: Delay Function 


# 24 DL B 




# 25 DL C 




# 26 DL D 




# 27 DL AB 




# 28 DL CD 




# 29 DL ABCD 


# 30 DL A/E 




# 31 DL C/C 




# 32 DL AB/CD 


# 33 DL A/B/C/D 


# 34 Du A 


B Du: Dual Function 


# 35 Du A 


C 


# 36 Du A 


D 


# 37 Du A 


CD 


# 38 Du A 


C/D 


# 39 Du B 


C 


# 40 Du B 


D 


# 41 Du B 


CD 


# 42 Du B 


C/D 


# 43 Du C 


D 


# 44 Du C 


AB 


# 45 Du C 


A/B 


# 46 Du D 


AB 


# 47 Du D 


A/B 


# 48 Du AB 


CD 


# 49 Du AB 


C/D 


# 50 Du CD 


A/B 


# 51 Du A/B C/D 


# 52 VM A 


B VM: Velocity Mix Function 


# 53 VM A 

# 54 VM A 

# 55 VM A 


C rThe structure at the left side always sounds and 
D the one at the right side sounds only with the 
CD Lstronger playing manner. 


# 56 VM A 


C/D 


# 57 VM B 


A 


# 58 VM B 


C 


# 59 VM B 


D 


# 60 VM B 


CD 


# 61 VM B 


C/D 


# 62 VM C 


A 



63 VM 

64 VM 

65 VM 

66 VM 

67 VM 

68 VM 

69 VM 

70 VM 

71 VM 

72 VM 

73 VM 

74 VM 

75 VM 

76 VM 

77 VM 

78 VM 

79 VM 

80 VM 

81 VM 

82 VM 

83 VM 

84 VM 

85 VM 

86 VM 

87 VM 



B 

D 

AB 

A/B 

A 

B 

C 

AB 

A/B 

C 

AB D 
AB CD 
AB C/D 
CD A 
CD B 
CD AB 
CD A/B 
A/B C 
A/B D 
A/B CD 
A/B C/D 
C/D A 
C/D B 
C/D AB 
C/D A/B 



88 VS 

89 VS 

90 VS 

91 VS 

92 VS 

93 VS 

94 VS 

95 VS 

96 VS 

97 VS 

98 VS 

99 VS 
#100 VS 
#101 VS 
#102 VS 

# 103 VS 
#104 VS 
#105 VS 
#106 VS 

# 107 VS 

# 108 VS 
#109 VS 

# 110 VS 
#111 VS 
#112 VS 
#113 VS 
#114 VS 
#115 VS 
#116 VS 
#117 VS 
#118 VS 
#119 VS 
#120 VS 
#121 VS 

# 122 VS 

# 123 VS 



B 

C 

D 

CD 

C/D 

A 

C 

D 

CD 

C/D 

A 

B 

D 

AB 

A/B 

A 

B 

C 

AB 

A/B 

C 

AB D 
AB CD 
AB C/D 
CD A 
CD B 
CD AB 
CD A/B 
A/B C 
A/B D 
A/B CD 
A/B C/D 
C/D A 
C/D B 
C/D AB 



VS: Velocity Switch Function 

The structure at the left side sounds with the sof- 
ter playing manner and the one at the right side 
sounds with the stronger playing manner. 



#124 A~ 

#125 B 

#126 C 

#127 D 

#128 AB. 



Receive Only 



63 



1 ERROR MESSAGES 



Error Messages shown during 
loading 



Error Messages shown during 
saving 



Wrong QD 



The connected QD is irrelevant with the data to 

be loaded. 

Replace the QD with the relevant one. 



Illegal QD 



The connected QD contains no data. 



I/O Error 1 



The S-10 has broken down. Call for the Roland 
service station. 



I/O Error 2 



Replace the QD with the other one and repeat 
loading procedure. 



I /O Error 3 



The S-10 has broken down. Call for the Roland 
service station. 



I/O Error 4 



The S-10 has broken down. Call for the Roland 
service station. 



Write protected 



The Protect Nail is snapped off. 



Ve rify Error 



The connected QD is damaged. Replace it with 
the other QD. 



64 



Error Messages shown during 
Wave Modification 



Combine str err 



The Structures you have selected cannot be 
combined. Select the other Structure. 



No need to Combn 



The combined data would become exactly the 
same as the original voice. 



Mix str error 



Warn Empty bank 



The Structure you have selected cannot be 
mixed. Select the other Structure. 



There is no data in the selected Bank. 



Copy str error 



Str mis sma t c h 



The Structure you have selected cannot be cop- 
ied. Select the other Structure. 



The selected Structure is not the same type as 
the source Structure. 



Swa p str error 



The Structure you have selected cannot be 
swapped. Select the other Structure. 



65 



8-voice digital sampling keyboard 

model S-10 MIDI Implementation Chart 



Version: 2.00 



Function 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


1-16 
1-16 


1-16 
1-16 


Memorized 


Default 
Mode Messages 
Altered 


Mode 3 

X 


Mode 3 

X 




Note 

Number True voice 


36-84 


24-103 
24-103 




Velocity Note ON 
Note OFF 


O 9n v = 8-127 
X 9n v = 


O v = 1-127 

X 




After Key's 
Touch Ch's 


X 
X 


X 

X 




Pitch Bender 


*1 


*1 0-12 semi 


9 bit resolution 


1 
64 

Control 100,101 
6,38 
Change 


*1 
*1 

*1, *2 (0, 1) 
*1, *2 


*1 
*1 

*1, *2 (0, 1) 
*1, *2 


Modulation 
Hold 1 

RPC LSB, MSB 
Data Entry MSB, LSB 


Prog 

Change True # 


*1 0-122 


*1 0-127 
0-127 




System Exclusive 


*1 


*1 




System Song Pos 
Song Sel 
Common Tune 


X 
X 
X 


X 
X 
X 




System Clock 
Real Time Commands 


X 
X 


X 
X 




Aux Local ON/OFF 

All Notes OFF 
Mes- Active Sense 
sages Reset 


X 

O (123) 

*1 

X 


X 

O (123-127) 

o 

X 




Notes 


* 1 Can be set to O or x manually, and memorized. 
#2 RPC = Registered parameter control number. 

RPC #0 : Pitch bend sensitivity 

RPC # 1 : Master fine tuning 
Parameter values are given by Date Entry. 



Mode 1 : OMNI ON, POLY Mode 2 

Mode 3 : OMNI OFF, POLY Mode 4 



OMNI ON, MONO 
OMNI OFF, MONO 



O : Yes 
x : No 
66 



8-voice digital sampling keyboard 



MODEL 



S-10 MIDI Implementation 



TIlANSMITTtiD DATA 



aulu , 


iiuuOl 


a 

kkkk 


Tl.tr 
0000 


1 


1001 in 


■ in Okkk 


0000, 


100 I in 


mi atiiik 


kkkk 


Owv 


WW 


ion mi 


mi UOOU 


0001 


Ovvv 


WW 


10 11 m 


i.ii 0000 


0110 


Ovvv 




10 11 m 


■ill 0010 


0110 


Ovvv 


WW 


iUli ni 


mi 0100 


0000 


0000 


oooo 


1011 m 


m. 0100 


oooo 


0111 


1111 


101 1 ill 


mi 0110, 


oioa 


Ovvv 


WW 


1011 III 


nil QUO 


0101 


Ovvv 


WW 


II 00 m 


mi Oppp 


I'Pl'P 







1110 i.nmi Ovvv vwv Ovvv vvw 
1011 niinn 0111 (Oil 0000 0000 

1111 0000 ... 1111 0111 



Nolo Ol-F 
kkkkkkk s 3u - 


ai 


Nil In ON 
kkkkkkk - 3U - 
wvvvw = 8 - 


S4 
127 


Modulation dcpl 
vvvww - 
vvvwvv = 1Z7 


1. 

|OI>) 

(ON) 


Dull. Entry nau 
Data Entry I.SII 




Holdl UI'F 
lioldl OH 




lll'C La II 
UPC M30 
lil'C | a 0, I 




Program Change 
ppppppp = - 


122 


Pitch llend Clmngt. 


All Nolo. Off 





Note 



-2 Wh 



ttted If the 
BEND RANGE or 



MASTER TUNE la changed, RFC (Regletered 
lumber) and Its value are eent aa follow! 



BnH, S4H, pp, 65H, qq . 06H, ma, 2BH, 11 
pp.qq - RFC number LSB.MSB 
mm, 11 : parmaeter value MSB, LSB 



value L3B 
0000 0000 



(Pitch bend aenaltlvl 
BEND RANGE 
0-12 aemitone, I aea 

(Moater fine tuning) 
MASTER TUNE 
-99 - *99 cent, 1 ce 



change number indicates the conditio 
re'. (See Owner'a manual) 



otlon 3 (EXCLUSIVE COMMUNICATION). 



jf the 'Sampling 



RECOCNIZED RECEIVE DATA 



1000 
1001 


:::: 


Okkk 
Okkk 


kkkk 

kkkk 


Ovvv 

oooo 


0000 


Note OFF, 
Note OFF 
kkkkkkk = 


velocity Ignored 
24 - 103 


t2-l 




1001 


nnnn 


Okkk 


kkkk 


Ovvv 


WW 


Note ON 
kkkkkkk a 


24 - 103 
1 - 127 


• 2-1 




1011 


nnnn 


oooo 


0001 


Ov.v 


ww 


Modulation 


depth 


«2-2 


3 


1011 
1011 


nnnn 


3000 

0010 


0110 
0110 


Ovvv 
Ovvv 


WW 


Data Entry 
Data Entry 


MSB 

LSB 


12-2 
'2-2 


4 

4 


1011 


nnnn 


0100 


oooo 


Owv 


vwv 


Holdl OFF 


- S3 


• 2-2 




1011 


nnnn 


0100 


oooo 


Ovvv 


WW 


Hold! ON 


64 - 127 


12-2 




1011 
1011 


nnnn 


0110 
0110 


0100 
0101 


Ovvv 
Ovvv 


WW 


RPC L3B 
RPC M3B 




t2-2 
• 2-2 


4 
4 


I10O 


nnnn 


Oppp 


pppp 






Prograa Ch 
ppppppp : 


- 127 


t2-2 


5 


1 1 10 


nnnn 


Ovvv 


WW 


Ovvv 


vvw 


Pitch Bend 


Change 


• 2-2 




1011 
1011 
1011 
1011 
1011 


En* 


0111 
0111 
0111 
01 11 
0111 


ton 

1100 

not 

1110 

mi 


0000 
OOOO 
0000 
000a 
0000 


oooo 
oooo 
oooo 

oooo 


ALL NOTES OFF 
OMNI OFF 
OMNI ON 
MONO ON 
POLV ON 


• 2-6 

• 2-6 

• 2-6 

• 2-6 

• 2-6 




1111 


oooo 






1111 


0111 


Systea exc 


lualve 


• 2-2 


7 



-1 Note 
-2 Recei 



-4 RPC a 
RPC 



era outaide the range 24 - 103 are Ignored, 
if the correeponding function switch ia ON. 



(Data Entry) ar 
MSB value LSB 



lied a 
iptlon 



BEND RANOB 

(0-12 semitone, 1 aealtone atep) 
xxxxxxx la Ignored. 



jaber correaponda to the condition of the 'Saapling 
' . (See Owner's manual) 



-5 Mode 
-7 See 



■a (123-127) are recognized ai 
3 (EXCLUSIVE COMMUNICATION). 



lly an ALL NOTES OFF. 



EXCLUSIVH COMMUNICATION 



5. 



xcluaive aeaaagea, In NORMAL 
to play and generate aound, 
xplalned In 



SAMPLE DATA DUMP NODE haa following 4 functio 

oectlon 6-9. 

when 'Ft' and 'MIDI' buttona are preaaed, it beeoaea SAMPLE 

DATA DUMP MODE, and LCD ahowe "Saaple Data Xat" . It aeana 

"ONE KAY SAMPLE DATA TRANSMIT". 

Then 'FORWARD' button ia preaaed, LCD ehowa 

"Saaple Data Xat«". It aeana "HANDSHAKB SAMPLE DATA TRANSMIT". 

Then 'FORWARD" button ia preaaed, LCD shows 

"Sample Data Rev". It aeana "0NB WAY SAMPLE DATA RECBIVE". 

Then 'FORWARD' button la preaaed, LCD shows 

"Saaple Data Rcvl". It aeana "HANDSHAKE SAMPLB DATA RECEIVE" . 

When 'BACKWARD' button ia preaaed, it changaa reversely. 



All exclusive 


communications are baaed on 


following 


( Roland Exclusive Format Type IV I. 




Byte 


Deacription 




a 111! 0000 


Exclusive status 




b 0100 0001 


Roland ID » 




c 0000 nnnn 


Device-ID 1 5 MIDI basic 
where nnnn + I = channel 


channel 
t 


d 0001 0000 


Model-ID 1 ( 3-10 ) 




e Oaaa aaaa 


Command- ID * 




[ f Obbb bbbb 


Address MSB I I ] depend 


on Command 


E g Occc cccc 


Address 1 




( h Oddd dddd 


Address LSB ] 




[ i Oeee eeee 


Data I 




( j Ofrf ffff 


Checkaua ] 




k mi oiti 


End of System Exclusive 





EXCLUSIVE COMMUNICATIONS IN NORMAL MODE 



Description 

Bxcluaive statua 

Roland ID I 

Device-ID I = MIDI baalc ch 

where nnnn + 1 = channel I 

Model-ID I ( S-10 ) 

Command- ID I ( RQ 1 ) 

Address MSB 

Addresa 

Address LSB 

3 tie MSB 



1111 0000 
0100 0001 
0000 nnnn 



i Oddd dddd 

J Ooee eeee 

k Offf fffr 

1 Oggg (ggg 

a 1111 0111 



• 4-1 

• 4-2 



Size 

Size LSB 

Checksum 

End of Synten Exciuaiv 



67 



4 . 1 . 2 Data 



■ 1111 0000 
b 0100 0001 
c 0000 nnnn 

d 0001 0000 

e 0001 0010 

f Oaaa bim 

■ Obbb bbbb 
K Ocec cccc 
i Oddd dddd 



•1 If aaaaaa 
-2 The data 



flee ID 



= MIDI baalc cha 



uhar 






Model-IB I ( S-10 1 

Command-ID I ( DTI 

Address MSB 

Address 

Address LSB 

Data 

Che 



parameter bloek-3 



i Oaaa 


aaaa 


V1B RATE 


1 Oaaa 


aaaa 


M-VIB DPTH 


1 Oaaa 


aaaa 


D-VIB DPTH 


; Oaaa 


aaaa 


D-VIB DLAY 


! 0000 


000a 


BEND MODE 


! 0000 


000a 


ARP 3YNC 


! Oaaa 


aaaa 


ASP BATE 


: oooo 


OOsa 


ARP MODE 



- 127 
- 127 
- 127 
- 127 
: CONT 
CHRrt 



DOWN 

U/D 

RND 



Address 
000000 



apping of parameter 

of parameter 

! Temporary wave pa 



OOOO aaaa 
0000 bbbb 
0000 cccc 
0000 dddd 
0000 OOee 

0000 aaaa 
0000 bbbb 
0000 cccc 
0000 dddd 
0000 OOne 

0000 aaaa 
0000 bbbb 
0000 cccc 
0000 dddd 
0000 OOee 

0000 aaaa 
0000 bbbb 
0000 cccc 
0000 dddd 
0000 OOee 

0000 aaaa 
0000 bbbb 
0000 cccc 
0000 dddd 
0000 OOee 

0000 000a 



ock- 


1 




15-1 


) 9 


bytes 




15-2 


103 








S4 - 


114 (-50 


- - 


»50> 


54 - 


114 (-SO 


- 


>50) 


00 


FWD 






01 


ALT 






10 


: BWD 






00 


: 1SHOT 






01 


: MAN 






10 


: AUTO 







REC KEY 
BANK TUNE 
LOOP TUNE 
SCAN MO08 



3T (start address! 

ee ddddecco bbbbaaaa s - NNNNNN 



END (end addreas) 

es ddddcccc bbbbaaaa = 



LP (loop length) 

ee ddddcccc bbbbaaaa 



- MMMMMM 



A'EN (auto end addreas) 
ee ddddecca bbbbaaaa = 4 



ALP (auto loop length) 

ee ddddcccc bbbbaaaa = 4 - MMMMMM 



: oooo 


OOaa 


ARP RANGB 


! 000a 


aaaa 


ARP REPEAT 


; oooo 


aaaa 


ARP DECAY 


! Oaaa 


aaaa 


V-MX THRSH 


! Oaaa 


aaaa 


V-SW THR3H 


: oooo 


000a 


DTUN MOO 


i Oaaa 


aaaa 


DTUN RANGB 


; oooo 


000a 


ABEND DES 


! OOOO 


000a 


BEND DEBT 



DELAY TIME 
DELAY LEVL 
KEY OFFSET 52 - 
TRQ 0-TIM8 
TRIGGER KEY II 
TRIGGER KEY 12 
TRIGGER KEY 13 
TRIGGER KEY 14 



FIX 
VELO 

127 

BOTH 

HALF 



- 127 

- 127 

- 76 (-12 - 
- 127 
23IOFF) - 103 
23(OFF) - 103 
23IOFF) - 103 
23IOFF) - 103 



Structure • 

0000 aaaa 1 aaaa 

OOOO bbbb I bbbb 

OOOO cccc ! cccc 

OOOO dddd : dddd 



temporary wav 



cture I of bloch-1 



» of block-4 



001000 : Oaaa aaaa ', Write command switch 

001001 I 0000 000a ! ARPEGGIO on/ofr : OFF 

1 : ON 

001002 ! Oaaa aaaa ! Sample dump aode switch 



Temporary wave parameters 

Tranaaltted when the parameter (except TONE NAME) la edlte 

or 'Request data' is received. 

When 'Data set' command la recognised, the corresponding 

parameter will be changed. 

1-ton* uses 1-temporary block, as following chart. 

When layer mode (dual-tone, v-mlx, v-swltchl Is selected, 

2nd structure (whose LED is blinking) uses block-2,3. 



■ s-a 

• 5-9 



sampl ing 



:tur 



block I (layer blook ») 



KEY FOLLOW 



PITCH BEND 



8NV V-SENS 
ENV RATE1 
ENV LEVEL 1 
ENV RATE2 
ENV LEVEL2 
ENV RATE3 
ENV LEVEL3 
ENV RATE4 
DYN RANGE 
ABEND RATE 
ABEND DPTH 
SPT KEYI1 
SPT KBYI2 
SPT KEYI3 






: 


127 

127 





- 


127 





- 


127 





- 


127 





- 


127 



- 127 
24 - 103 
24 - 103 
24 - 103 



A/B 


0/1 (2/3) 


C/0 


0/1 (2/3) 


AB/CD 


0/1 


A/B/C/D 


0/1/2/3 - 


Transmitted only whe 


t 'Request data 


If 2 or 4 blocks are 


used, the top 


for the communlcatio 





uld be used 



68 



the sampling 



structure 


NNNNNN 




MMMMMM 




A 


32763 


(7FFBH) 


32767 


(7FFFH) 


B 


32763 


(7FFBH) 


32767 


(7FFFH) 


C 


32763 


(7FF8H) 


32767 


(7FFFH) 


D 


32763 


(7FFBH) 


32767 


(7FFFH) 


A8 


65531 


IFFFBH) 


65536 


(FFFFH) 


CD 


65531 


(FFFBH) 


65536 


(FFFFH) 


A BCD 


131067 


( IFFFBH) 


131071 


1 1 FFFFH) 


A/B 


32763 


(7FFBII) 


32767 


(7FFFH) 


C/D 


32763 


(7FFBH) 


32767 


(7FFFH) 


AB/CD 


65531 


(FFFBH) 


65536 


(FFFFH) 


A/B/C/D 


32763 


(7FFBH) 


32767 


I7FFFHI 


And the addr 


eaa valu 


e» >uat a 


atisfy f 


Dllwlnl t 



2: "(loop length!" la equal to 



-5 If 2 or < 
uaed Tor 
Sampl ing 



will be 
blocks a 



are tran 
Data set 
tanged. 



ed, the SPT KEY I of top block 



.2 Handshaking 

6.2.1 Want to send data USD 40H 



1111 0000 
0100 0001 
0000 nnnn 



g Obbb bbbb 
h Occc cccc 
1 Oddd dddd 

j Oeee eeee 

k orff rrrr 
l 0fg« gggg 

a 1111 011] 



6.2.2 Request data 



ce-ID t = NIDI basic cha 
e nnnn * 1 » channel I 



Model-ID f ( 3-10 ) 

Command-ID I ( WSD ) 

Address MSB 

Address 

Address LSB 

SUe MSB 

Sire 



SI: 



LSB 



End of System Exelue 



A/B" 



SPT KEYI2. 



Performance parameters 
Transmitted when the parameter 
or 'Bequest data" la received. 
Uhen Data set command ( DTI ) 1 
parameter will be changed. 



Structure I of temporary wav 

These can't be changed by Da 

Transmitted only when Requea 

If the data of this addresa 

structure I of the temporary 

will be transmitted. 

If the block would not be uaed, structure f 



iccept TONS NAMB I la edited 
recognised, the correspondln 



d ( DTI ). 
a command { RQ1 ) 1 
quested to send, 
parameter block-n 



ructure I 



aampiing 



«5-8 Write command switch 

Transmitted when 'ENTER' button la pressed. 

If any data would be written to this address, 

write the parameters in temporary area to wave, parameter area 

of tha banks on the condition of the sampling structure. 

Request data command ( RSJ1 ) for thia address la ignored. 

«5-9 Arpeggio on/off switch 

Transmitted uhen 'ARPBOQIO' button is pressed. 

When Data set command ( DTI ) Is recognized, arpeggio will tu 

to ON or OFF. 

Requeat data command ( RQl > for thia addresa ia ignored. 

tS-10 Sample dump mode awi ten 

Transmitted when 'FI' and 'MIDI' button are preaaed. 

If any data ia written to this addreaa, the mode will change 

from NORMAL MODE to SAMPLE DATA DUMP MODE. 

The transmitter should be wait more then lOaaec for changing 

the mode . 

Request data command ( RQI ) for thia address ia ignored. 



a till 


0000 


Exclusive statua 


b 0100 


0001 


Roland ID 1 


c 0000 


nnnn 


Device-ID 1 = MIDI basic channel 
where nnnn ♦ 1 = channel 1 


d 0001 


0000 


Model-ID 1 ( 3-10 > 


e 0100 


0001 


Command -ID 1 ( ROD 1 


f Oaan 


aaaa 


Address MSB 


g Obbb 


bbbb 


Address 


h Occc 


cccc 


Address LSB 


i Oddd 


dddd 


SI IB MSB 


j Oeee 


eeee 


Site 


k Offf 


ffff 


Siie LSB 


1 Oggg 


gggg 


Checksum 


m 1111 


0111 


End of System Exclusive 


Data set 


DAT 42H 


Byte 


Description 


a 1111 


oooo 


Exclusive status 


b 0100 


0001 


Roland ID 1 


c 0000 


nnnn 


Device-ID f = MIDI basic channel 
where nnnn f 1 = channel ? 


d 0001 


oooo 


Model-ID 1 ( S-10 ) 


e 0100 


oftio 


Command- 10 1 ( DAT ) 


f Oaaa 


aaaa 


Addresa MSB 


g Obbb 


bbbb 


Address 


h Occc 




Address LSB 


1 Oddd 


dddd 


Data 


J Oeee 


eeee 


Checksum 


k lilt 


0UI 


End of System Exclusive 


Acknowledge 


ACE 43H 


Byl 


.. 


Description 



1111 oooo 
0100 0001 

0000 nnnn 

0001 0000 
0100 0011 
1111 0111 



Exclusive statua 
Roland ID • 

Device-ID t s MIDI basic 
where nnnn * 1 s channel 
Model-ID I ( S-10 ) 
Command- ID I ( ACK ) 
End of Syatem Excluaive 



6.2.5 End of data 



TRANSMITTED EXCLUSIVE" MESSAGES IN SAMPLE DATA DUMP MODE 



BOD 45H 
Deacrlptlo 



HAVE DATA - WAV! 


! PARAMETER - PERFORMANCE PARAMETER 


One 1 


way tranafer 




. 1 Data set 


DTI 1!H 


Transmitted when 'ENTER' button ia preaaed 


in 


'Sample Data 


Xmt' mode. 




Byte 


Deacription 


a 


1111 0000 


Excluaive status 


b 


0100 0001 


Roland ID 1 


c 


0000 nnnn 


Device-ID 1 = MIDI basic channel 
where nnnn ♦ 1 * channel * 


d 


0001 0000 


Model-ID 1 ( S-10 ) 


e 


000) 0010 


Command-ID 1 ( DTI ) 


f 


Oaaa aaaa 


Addreaa MSB 


( 


Obbb bbbb 


Addreaa 


h 


Occc cccc 


Address LSB 


1 


Oddd dddd 


Data 


j 


Oeee eeee 


Checksum 


k 


1111 0111 


End of System Exclusive 



1111 oooo 
0100 0001 

0000 nnnn 

0001 0000 
0100 0101 
1111 011 I 



a 1111 0000 
b 0100 0001 
c 0000 nnnn 

d 0001 0000 
e 0100 1110 
f 1111 0111 



1111 0000 
0100 0001 

0000 nnnn 

0001 0000 
0100 1111 
1111 0111 



Excluaive status 

Roland ID I 

Device-ID I = MIDI basic channel 

where nnnn ♦ 1 = channel t 

Model-ID I ( S-10 ) 

Command- ID I ( SOD ) 

End of System Exclusive 



ERR 4 EH 
Descriptlo 



Exclusive statua 

Roland ID I 

Device-ID t - MIDI basic channel 

where nnnn » 1 a channel I 

Model-ID ( ( 3-10 ) 

Command- ID # ( ERR ) 

End or System Exclusive 

RJC 4FH 

Deacription 

Excluaive statua 

Roland ID I 

Device-ID I s MIDI basic channel 

where nnnn ♦ 1 s channel I 

Model-ID I I 3-10 I 

Command- ID I { RJC 1 

End of Syatem Exclusive 



69 



Notes : 
•6-1 Addr 



determined by sampling 



structure 


WAVE DATA 


A 


020000 


B 


osoooo 


C 


0A0000 


D 


0E0OO0 


AB 


020000 


CD 


0AOOO0 


ABCD 


020000 


A/B 


020000 


C/D 


OAOOOO 


AB/CD 


020000 


A/B/C/D 


020000 



WAVE PARAMETER PERFORMANCE PARAMETER 



•6-2 Number of data in one Data get command ( 0T1 I is aa follows. 
structure WAVE DATA WAVE PARAMETER PERFORMANCE PARAMETER 



C/D 

AB/CD 

A/B/C/D 

•6-3 Size ! MSB 

structure 



146 

128 146 28 

LSB ) la as follows. 
WAVB DATA WAVE PARAMETER PERFORMANCE PARAMETER 



C/D 

AB/CD 

A/B/C/D 



040000 



040000 
080000 
080000 
100000 
080000 

oaoooo 

100000 
100000 



000049 



0000 1C 



RECOONIZED EXCLUSIVE ME3SA0ES IN SAMPLE DATA OUMP MOOB 



Transmitted Sample data is determined by sampling struct 

It must be transmitted in following order. 

WAVB DATA - WAVB PARAMETER - PERFORMANCE PARAMETER 



•Following exclusive me 
SAMPLE DATA DUMP MODE. 
When all sample data i 
sampling structure ohs 



ognlzed onlj lr 






7.1.1 Data 



DTI 12H 

Descrlptio 



7.2 Ha 
7.2.1 



a 1111 


0000 


Exclusive ststus 


b 0100 


0001 


Rolsnd ID I 


c 0000 


nnnn 


Device-ID 1 = MIDI basic channel 
where nnnn * 1 = channel 1 


d 0001 


0000 


Model-ID 1 ( 3-10 ) 


e 0001 


0010 


Command- ID > ( DTI 1 


f Oaaa 


aaaa 


Address MSB 


g Obbb 


bbbb 


Address 


h Occc 


ccco 


Address LSB 


i Oddd 


dddd 


Data 


J Oeee 


eeee 


Checksum 


k till 


Oil 1 


End of System Exclusive 


dshaking communicstlon 


Want to send 


dsta WSD 40H 


Byte 


Description 


s 1111 


0000 


Exclusive status 


b 0100 


0001 


Roland ID 1 


o 0000 


nnnn 


Device-ID 1 s MIDI basic channel 
where nnnn » 1 = channel 1 


d 0001 


0000 


Model-ID 1 ( S-IO ) 


e 0100 


0000 


Command-ID 1 ( WSD ) 


f Oaaa 


aaaa 


Address MSB 


■ Obbb 


bbbb 


Address 


h Occc 


cccc 


Address LSB 


L Oddd 


dddd 


Size MSB 


j Oeee 


eeee 


Size ' 


k Offf 


ffff 


Size LSB 


1 Off, 


81(8 


Checksum 


m 1111 


0111 


End of System Exclusive 



a 1111 


0000 


Exclusive status 


b 0100 


0001 


Roland ID 1 


c OOOO 


nnnn 


Device-ID i = MIDI basic channel 
where nnnn ♦ t = channel 1 


d 0001 


0000 


Model-ID 1 ! 8-10 ) 


e 0100 


0001 


Command- ID » < RQD I 


f Oaaa 


saaa 


Address MSB 


I Obbb 


bbbb 


Address 


h Occc 


cccc 


Address LSB 


i Oddd 


dddd 


Size MSB 


J Oeee 


eeee 


Size 


k Offf 


ffff 


Size L5B 


1 Ogg« 


gggg 


Checksum 


m till 


out 


End of System Bxclusive 


3 Data s 


!t 


DAT 42H 


Byte 


Description 


s 1111 


0000 


Exclusive status 


b 0100 


0001 


Roland ED t 


c 0000 


nnnn 


Device-ID 1 s MIDI basic chsnnel 
where nnnn ♦ 1 = channel I 


d 00O1 


0000 


Model-ID » ( 3-10 ) 


s 0100 


0010 


Command-ID 1 ( OAT ) 


f Oaas 


aaaa 


Address MSB 


I Obbb 


bbbb 


Address 


h Occc 


cccc 


Address LSB 


i Oddd 


dddd 


Data 


J Oeee 


eeee 


Checksum 


k 1111 


0111 


End of System Bxclusive 


1 Acknow 


edge 


ACK 4 3H 


Byt 




Description 


a 1111 


0000 


Exclusive status 


b 01O0 


0001 


Rolsnd ID 1 


c 0000 


nnnn 


Device-ID t = MIDI baalc channel 
where nnnn <• 1 = channel » 


d 0001 


0000 


Model-ID 1 ( S-10 ) 


e 0100 


0011 


Command- ID I ( ACK ) 


r nit 


0111 


End of System Exclusive 


5 End of 


data 


EOD 4 5H 


Byte 


Description 



a 11 11 0000 

b 0100 0001 

c 0000 nnnn 

d 0001 0000 

e 0100 0101 

f mi oiu 



1111 0000 
0100 0001 

0000 nnnn 

0001 0000 
0100 1110 
1111 0111 



1111 0000 
OtOO 0001 

0000 nnnn 

0001 0000 

oioo mi 

II 11 0111 



Exclusive status 

Rolsnd ID I 

Device-ID t - MIDI basio ch 

where nnnn * 1 = channel I 

Model-ID I ( S-10 ) 

Command-ID I { BOD ) 

End of System Exclusive 

rror ERR 4EM 

Description 

Exclusive status 

Roland ID t 

Device-ID » = MIDI basic ch 

where nnnn » 1 = channel I 

Model-ID I ( S-10 I 

Command- ID I I ERR ) 

End of System Exclusive 

RJC 4FH 

Description 

Exclusive status 

Roland ID • 

Device-ID I = MIDI basic ch 

where nnnn * 1 = channel I 

Model-ID I ( S-10 ) 

Command- ID I { RJC I 

End of System Exclusive 



«7-1 
• 7-3 



structure 


WAVE DAI 


A 


020000 


B 


060000 


C 


OAOOOO 


D 


0EOO0O 


AB 


020000 


CD 


OAOOOO 


ABCD 


020000 


A/B 


020000 


C/D 


OAOOOO 


AB/CD 


020000 


A/B/C/D 


020000 



WAVE DATA WAVE PARAMETER PERFORMANCE PARAMBTER 



70 



• 7-2 Number of data in data set la as follows. 

structure WAVE DATA WAVE PARAMETER PERFORMANCE PARAMETER 



AS 

CD 

ABCD 

A/B 

C/D 

AB/CD 

A/B/C/D 



bbbbaaaa BANK TUNE 



■ bar 



2 - 244 
s of WAVE DATA 



( MSB - LSB I is as follows, 
ructure WAVE DATA WAVE PARAHBTES PERFORMANCE PARAMETER 



D 


040000 


AB 


080000 


CD 


080000 


ABCD 


100000 


A/B 


080000 


C/D 


080000 


AB/CD 


100000 


A/B/C/D 


100000 



Address napping of SAMPLE DATA 



Address 
01 0000 
010000 



Wave parameter of blook-l 

Oeaa aaaa ! TONB NAME 

0000 aaaa ! SAMPLINO STRUCTURE 
0000 aaaa ! DESTINATION BANK 
0000 abed ! 

a BENDBR 

b KEY FOLLOW 



SAMPLING RATE 



bb SCAN MODB 



13H0T 

MAN 
AUTO 

FORWARD 

ALTERNATB 

BACKWARD 



0000 aaaa 




0000 bbbb 






bbbb a 


0000 0000 


! duamr 


0000 0000 


! du»r 


0000 aaaa 




0000 bbbb 




0000 cccc 




0000 dddd 




0000 esse 




oooo rrrr 




0000 gXKS 




0000 hhhh 




0000 UU 




0000 JJJj 




0000 kkkk 




0000 1111 




0000 aausa 




0000 nnnn 




0000 oooo 




0000 pppp 




0000 qqqq 




0000 rrrr 




0000 asss 




0000 tttt 




0000 uuvv ! 




0000 wuOO ! 




0000 0000 ! 


d unlay 


oooo xxrr ! 





REC KBY NUMBER 



' bbbbaaaa ddddcccc 
ffffeeee hhhhKgff 
JJJJUii llllkkkk 
nnnnaaH ppppoooo 
rrrrqqqq ttttasss 



START ADDBISS 
MANUAL LOOP LENGTH 
MANUAL END AODRESS 
AUTO LOOP LENGTH 
AUTO END ADDRESS 



41 

4B 

01004S 

010111 

010112 

01016A 

01O15B 

010224 

010800 


1 



bbbbaasa 
bbbbaaaa 
bbbbaaaa 
bbbbaaaa 
bbbbaaaa 
bbbbaaaa 
bbbbaaaa 



LOOP TUNB 
VELOCITY SENSE 
ENVELOPE RATB-1 
ENVELOPE RATE-2 
ENVELOPE RATE- 3 
ENVBLOPE RATE-4 
ENVELOPE LEVEL- 1 



bbbbaaaa ENVELOPE LEVEL -2 

bbbbaaaa ENVELOPS LEVBL-3 

bbbbaaaa KEY SPLIT POINT- 1 

bbbbaaaa KBY SPLIT POINT-2 

bbbbaaaa KBY SPLIT POINT-3 

bbbbaaaa DYNAMIC SENS 

bbbbaaaa AUTO BBND RATE 



bbbbaaaa 
parameter 



AUTO BEND DEPTH 
>f blook-2 



Performance parameter 

bbbbaaaa EXTERNAL TRIGGER KEY NUMBER- 1 

bbbbaaaa EXTERNAL TRIGGER XHY NUMBER- 2 

bbbbaaaa EXTERNAL TRIGGER KEY NUMBBR-3 

bbbbaaaa EXTERNAL TRIGGER KEY NUMBER-4 

bbbbaaaa EXTERNAL TRIGGER TRIGGER TIMB 



bbbbaaaa ARPEGGIO RATS 
ARPEGGIO SYNC 00 : INTERNAL CLOCK 
01 : BXTERNAL CLOCK 



0000 aabb 



aa ARPEGGIO MODB 00 : UP 

01 : DOWN 

10 : UP/DOWN 

11 : RANDOM 

bb ARPEOGIO RANGE 00 : 1 OCTAVB 

01 : 2 OCTAVE 

10 : 3 OCTAVE 



bbbbaaaa ARPEGGIO REPEAT TIMB 

bbbbaaaa ARPEGGIO DECAY RATIO 

bbbbaaaa VIBRATO RATE 

bbbbaaaa MANUAL VIBRATO DEPTH 



71 



OOOO abed 



bbbbaaaa BELAY VIBRATO DEPTH 

bbbbaaaa DELAY VIBRATO TIHE 

bbbbaaaa DELAY TIHE OF DELAY MODE 

bbbbaaaa DELAY LBVRL OF DELAY NODE 

bbbbaaaa DBLAY KEY OFFSET OF DELAY MODE 

bbbbaaaa DETUNE RANCg OF DETUNE MODE 



a AUTO BEND DESTINATION OF DETUNB MODE 

: BOTH 

1 : HALF 

b BEND DESTINATION OF DETUNB MODE 

: BOTH 

1 : HALF 



9.3 Whan want to send da 
this unit 



is received 



ACK 
ACK 



( ACK 
ACK 



Se objeatlve unit 

USD (WAVE DATA) 
DAT (WAVE DATA! 

DAT (WAVE DATA) 



WSDIWAVE PARAMETER) 

DATIWAVE PARAMBTER) 

DAT(WAVE PARAMETER) 

BOD 

WSFI PERFORMANCE PARAMBTER) 
DAT ( PERFORMANCE PARAMETER 1 



2T : oooo oooo : 



.ta of bank- I 



3.4 whan request data is received 

this unit aeessge 



jective unit 



Wave data of bank-2 



wave data of bank-3 



Wave data of bsnk-4 



057F7F 

060000 

097F7F 

0A0000 

0D7F7F 
0E0000 



9.! When one war data set of WAVE DATA is transmitted 

this unit message objective unit 

DTUWAVE DATA) > 

* tine interval about 20 as 
DTUWAVE DATA) > 

DTI (WAVE DATA) > 

DTI (WAVE PARAMETER) > 

I DTUWAVE PARAMETER) > I 

DTI (PERFORMANCE PARAMETER) > 

9.2 When one "nv data set of WAVE DATA is received 

this unit aeaaage objeotive unit 

< DTUWAVE DATA) 

t wait tine more than 20 as 

< DTUWAVE DATA) 

< DTUWAVE DATA) 

< DTUWAVE PARAMETER) 

( < DTUWAVB PARAMETER) I 

< 0TU PERFORMANCE PARAMETER) 



DATIWAVE DATA) 



RQDIWAVB DATA) 

ACK 

DATIWAVE DATA) > 

< ACK 

BOD > 

< ACK 

< RQDIWAVB PARAMBTER) 

DATIWAVE PARAMETER) > 

< ACK 

I DATIWAVE PARAMETER) -~ -> 

I < ACK 

EOD > 

< ACK 

< RQD I PERFORMANCE PARAMETER) 

DAT! PERFORMANCE PARAMBTER) > 



(When it receives ERR, it sends sane data Bet again. 



'It stope the sequence laamdiatelr when it 



72 



SPECIFICATIONS 

S-10: Digital Sampling Keyboard 

Keyboard: 8 voice polyphonic, C scale, 49 
keys, 4 octaves with dynamics 



Front Panel 

Structure Buttons 
F1/ ► Button 
F2/ < Button 
Tune Button 
Parameter Button 
Modify Button 
Performance Button 
MIDI Button 
Enter Button 
Forward Button 
Backward Button 
Record Button 
Mode Button 
Stand-by Button 
Start Button 
Load Button 
Save Button 



Performance Controllers 

Alpha Dial 

Arpeggio Button 

Volume Knob 

Bend Range Knob 

Recording Level Knob 

Pitch Bender/Modulation Lever 



Display 

1 6 figure Liquid Crystal Display (back lit) 

Disk Drive 

2.8 inch Quick Disk (QD) 

Rear Panel 

Output Jack 

Output Level Switch 

Headphones Jack 

Hold/REC Start Jack 

Input Level Switch 

MIDI Connectors (IN, OUT, THRU) 

Power Switch 

Dimensions 

945(W)X 271(D) X 77(H) mm/ 

37-3/1 6"X 10-11/16" X 3" (without the QD 

Case) 

Weight 

9.5 kg / 20 lb. 

Power Consumption 

19W 

Accessories 

Disk Case 

Connection Cable (PJ-1 ) 

Sample Sound QD 



Options 

Headphones RH-1 00 
Pedal Switch DP-2 
Pad PD-20 
Microphone 
Keyboard Stand KS-6 
Quick DiskQD-10 



73 



DISK MEMO 



Disk No. 



A B Name 



Structure 



[Split Point: 



Performance Parameter 


Wave Parameter 


VIB RATE 




REC KEY 




M-VIB DPTH 




BANK TUNE 




D-VIB DPTH 




LOOP TUNE 




D-VIB DLAY 




SCAN MODE 




BEND MODE 




LOOP TYPE 




ARP SYNC 




ST 




ARP RATE 




END 




ARP MODE 




LP 




ARP RANGE 




AEN 




ARP REPERT 




rWn^t 




ARP DECAY 




KEY FOLLOW 




V-MX THRSH 




PITCH BEND 




V-SW THRSH 




VIBRATO 




DTUN MODE 




ENV V-SENS 




DTUN RANGE 




ENV RATE 1 




ABEND DEST 




ENV LEVEL 1 




BEND DEST 




ENV RATE 2 




DELAY TIME 




ENV LEVEL 2 




DELAY LEVL 




ENV RATE 3 




KEY OFFSET 




ENV LEVEL 3 




TRG G-TIME 




ENV RATE 4 




Ext Gate Play 




DYN SENSE 






ABEND RATE 






■ ■ ■#V--irf-*w--PM"|----l |..>.l w f...|...L ffi <|. . 





74 



Disk No. 



A B Name 



Structure 



[Split Point: 



Performance Parameter 


Wave Parameter 


VIB RATE 




REC KEY 




M-VIB DPTH 




BANK TUNE 




D-VIB DPTH 




LOOP TUNE 




D-VIB DLAY 




SCAN MODE 




BEND MODE 




LOOP TYPE 




ARP SYNC 




ST 




ARP RATE 




END 




ARP MODE 




LP 




ARP RANGE 




AEN 




ARP REPERT 




ALP 




ARP DECAY 




KEY FOLLOW 




V-MX THRSH 




PITCH BEND 




V-SW THRSH 




VIBRATO 




DTUN MODE 




ENV V-SENS 




DTUN RANGE 




ENV RATE 1 




ABEND DEST 




ENV LEVEL 1 




BEND DEST 




ENV RATE 2 




DELAY TIME 




ENV LEVEL 2 




DELAY LEVL 




ENV RATE 3 




KEY OFFSET 




ENV LEVEL 3 




TRG G-TIME 




ENV RATE 4 




Ext Gate Play 




DYN SENSE 






ABEND RATE 






ABEND DPTH 





75 



^Roland 



10664 



UPC 10664 







^Roland
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